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THE  ENGRAVINGS 
OF  WILLIAM  BLAKE 


Plate  i 
GLAD  DAY,  1780 

From  an  example  in  the  Print  Room,  stamped  with  colour  by  Blake's  special  process.  (3) 


THE  ENGRAVINGS 


WILLIAM 

BY 

ARCHIBALD  G.  B. 


BLAKE 

RUSSELL 


BOSTON  AND  NEW  YORK 
HOUGHTON  MIFFLIN  COMPANY 


PRINTED  BY  THE  RIVERSIDE  PRESS  LIMITED 
EDINBURGH 


TO 

JOHN  MASEFIELD 


PREFACE 


The  writer’s  grateful  thanks  are  due  to  Mr  Stopford  Brooke, 
Mr  B.  B.  Macgeorge  and  Mr  Robson  (the  well-known  book- 
seller, of  23  Coventry  Street)  for  their  courteous  permission 
to  include  among  the  illustrations  some  fine  and  scarce  prints  in 
their  possession  ; also,  to  the  Trustees  of  the  British  Museum 
for  allowing  him  to  draw  largely,  for  the  same  purpose,  upon 
the  important  collection  of  Blake’s  engravings  in  the  Print 
Room  ; and  to  Mrs  Dobinson  for  the  excellent  photographs, 
which  she  has  had  specially  taken  for  use  in  the  volume, 
from  fine  impressions  belonging  to  her  of  the  “Job”  and 
“ Ezekiel,”  Nos.  12  and  13  in  the  Catalogue  ; to  Mr  Laurence 
Binyon,  Assistant  Keeper  of  the  Department  of  Prints  and 
Drawings  at  the  British  Museum,  for  unfailing  kindness  in 
furthering  his  researches  with  valuable  help  and  advice  ; and 
finally  to  Mr  Geoffrey  Keynes  for  his  generous  offer  (eagerly 
accepted)  to  revise  the  proofs  of  the  book  and  for  the  admirable 
thoroughness  with  which,  to  its  great  profit,  this  labour  was 
carried  out  by  him. 

The  following  are  the  principal  works  consulted  by  the 
writer  in  the  present  connection  : — 

“The  Life  of  William  Blake,”  by  Alexander  Gilchrist: 
2 vols.  ; 2nd  edition,  1880. 

“ William  Blake,  a Critical  Essay,”  by  Algernon  Charles 
Swinburne  ; 2nd  edition,  1906. 

“The  Poetical  Works  of  William  Blake,”  by  John 
Sampson,  1905. 


9 


“The  Letters  of  William  Blake,”  edited  by  Archibald 
G.  B.  Russell,  1906. 

“William  Blake,”  by  Arthur  Symons,  1907  (in  especial 
reference  to  the  documents  forming  the  second  portion 
of  the  book). 

“Allgemeines  Lexicon  der  Bildenden  Kiinstler,”  edited  by 
Prof.  Ulrich  Thieme  and  Dr  Felix  Becker,  Leipzig, 
1909  : vol.  iv.,  pp.  84-88,  art.  “William  Blake,” 
by  Archibald  G.  B.  Russell. 

The  Catalogues  of  the  following  exhibitions  of  works 
by  Blake  : — 

At  the  Burlington  Fine  Arts  Club,  1876. 

At  the  Museum  of  Fine  Arts,  Boston,  U.S.A., 
1880  and  1891. 

At  the  Grolier  Club,  New  York,  1905. 


10 


CONTENTS 


Table  of  Dates 

The  Engravings  of  William  Blake 
Catalogue  of  the  Engravings 


Appendix 


LIST  OF  ILLUSTRATIONS 


NUMBER  IN 
THE 

CATALOGUE 


I. 

Glad  Day.  (1780)  . . . 

3 

Frontis. 

2. 

Joseph  of  Arimathea  among  the  Rocks  of  Albion. 

FACING 

PAGE 

(1773)  

1 

53 

3- 

“ The  shatter’d  bark  from  adverse  winds,”  etc. 
(Commins’s  “ Elegy,”  1786) 

4 

55 

4* 

“ Look  what  a fine  morning  it  is  ! ” etc.  (Wollstone- 
craft’s  “ Original  Stories,”  1791)  • 

7 i 

57 

5- 

i.  “I  found  him  beneath  a Tree.”  ii.  “ My  Son  ! My 
Son  !”  iii.  “ Does  thy  God,  O Priest,  take  such 
vengeance  as  this?”  iv.  “I  have  said  to  the 
Worm,”  etc.  (“  Gates  of  Paradise,”  1793) 

8 iv.,  xi., 
xv.  & xix 

61 

6. 

Job.  “What  is  Man  that  thou  shouldest  try  him 
every  moment.”  Job.  vii.  17  & 18.  (1793) 

12 

68 

7- 

Ezekiel.  “I  take  away  from  thee  the  Desire  of 
thine  Eyes.”  Ezekiel  xxiv.  16.  ( 1 793) 

n 

69 

8. 

“Death!  great  proprietor  of  all!”  (Young’s 
“ Night  Thoughts,”  1 797)  .... 

17  V 

74 

9- 

“ Where  sense  runs  savage  broke  from  reason’s  chain, 
. . . (Young’s  “Night  Thoughts,”  1797)  . 

17  XXV 

77 

10. 

Little  Tom  the  Sailor — lower  portion.  (1800) 

18 

82 

11. 

The  Eagle.  (Hayley’s  “Ballads,”  1805) 

20  ii 

87 

12. 

Job  in  Prosperity — lithograph,  (c.  1807) 

23 

91 

*3- 

Reeve.  Chaucer.,  etc.  (“  The  Prologue  and  Characters 
of  Chaucer’s  Pilgrims,”  1812) 

25  i 

92 

H- 

Mirth  and  her  Companions,  (c.  1815-1820) 

27 

94 

IS- 

i.  The  blasted  Tree.  ii.  “ A rolling  stone,”  etc. 
iii.  “ For  him  our  yearly  wakes,”  etc.  (Thornton’s 
“Virgil,”  1821) 

3°  vi- 

x.  & xiii 

98 

16. 

The  Man  sweeping  the  Interpreter’s  Parlour.  (?  c. 
1822)  ...... 

31 

IOI 

*3 


List  of  Illustrations 


17.  “ And  I ONLY  AM  ESCAPED  ALONE  TO  TELL  THEE.”  Job  i. 

15.  (“  Book  of  Job,”  1825) 

NUMBER  IN 
THE 

CATALOGUE 

33  v 

FACING 

PAGE 

105 

18.  “And  smote  Job  with  sore  Boils,”  etc.  Job  ii.  7. 

(“  Book  of  Job,”  1825)  .... 

33  vii 

106 

19.  “Then  a Spirit  passed  before  my  face,”  etc.  Job  iv. 
15.  (“  Book  of  Job,”  1825) 

33  x 

107 

20.  “With  Dreams  upon  my  bed  thou  scarest  me,”  etc. 
Job  vii.  14.  (“  Book  of  Job,”  1825) 

33  xii 

108 

21.  “Then  the  Lord  answered  Job  out  of  the  Whirl- 
wind.” Job  xxxviii.  1.  (“  Book  of  Job,”  1825) 

33  xiv 

109 

22.  “When  the  morning  Stars  sang  together,”  etc. 
Job  xxxviii,  7.  (“Book  of  Job,”  1825) 

33  xv 

no 

23.  Paolo  and  Francesca,  and  the  Whirlwind  of  Lovers. 

(Dante’s  “Inferno,”  1827)  .... 

34  1 

1 16 

24.  Dante  striking  Bocca  degli  Abbati’s  head  with  his 
foot.  (Dante’s  “ Inferno,”  1827) 

34  vii 

1 17 

25.  Christ  with  a Bow,  trampling  upon  Satan.  (?  1827) 

35 

1 18 

26.  “To  the  Oueen.”  (Rejected  design  for  the  Dedication 
of  Blair’s  “Grave,”  1808)  .... 

40 

I24 

27.  Death’s  Door.  (Blair’s  “ Grave,”  1808) 

40  xi 

129 

28.  Venus  dissuades  Adonis  from  Hunting.  (After 
Cosway,  1787)  ..... 

64 

150 

29.  An  awe-struck  Group  standing  on  a Rock  by  the 
Sea.  (After  Robert  Blake,  ? 1787)  . 

65 

151 

30.  “When  my  hero  in  court  appears,”  etc.  “Beggar’s 
Opera,”  Act  III.  (After  Hogarth,  1790) 

71 

r53 

31.  “ Ancora  imparo.  M:  Angelo  Bonarroti.”  (After 
Fuseli.  Fuseli’s  “ Lectures,”  1801)  . 

95 

171 

32.  Mrs  0.  (After  Huet  Villiers,  1820) 

108 

187 

14 


TABLE  OF  DATES 


William  Blake  born,  at  28  Broad  Street,  Golden  Square 

28th  November  1757 

Enters  Pars’  drawing-school  in  the  Strand  . . . 1 767 

Apprenticed  to  James  Basire,  engraver  to  the  Society 

of  Antiquaries  . . . . . .1771 

Enters  the  Royal  Academy  School  ....  1778 

Marries  Catherine  Boutcher  . . . 1 8 th  August  1782 

Removes  from  28  Broad  Street  to  23  Green  Street, 

Leicester  Fields  ......  1782 

Removes  to  27  Broad  Street  and  sets  up  a shop  there  as 


printseller  and  engraver,  in  partnership  with  James 

Parker  . . . . . * .1784 

Death  of  his  brother  Robert  . . . . .1787 

Removes  to  28  Poland  Street  .....  1787 

Removes  to  13  Hercules  Buildings,  Lambeth  . . . 1793 


Leaves  London  for  Felpham  . . . 1 8 th  September  1800 

Charge  of  sedition  preferred  against  him  by  the  drunken 

Scholfield  ......  August  1803 

Returns  to  London  and  settles  at  17  South  Molton 

Street  .....  September  1803 

Tried  at  Chichester  Quarter  Sessions  on  the  charge 

of  sedition  and  acquitted  . . . 11th  January  1804 

Holds  his  exhibition  of  pictures  at  28  Broad  Street  (his 

brother  James’s  house)  . . . May-September  1 809 

Removes  from  17  South  Molton  Street  to  3 Fountain 

Court,  Strand  . . . . . .1821 

Dies  ......  1 2th  August  1827 


THE  ENGRAVINGS 
OF  WILLIAM  BLAKE 


From  his  childhood  Blake  was  in  love  with  the  engraver’s  art. 
It  was  his  chief  means  of  becoming  acquainted  with  the  works 
of  the  old  masters.  The  prestige  of  these  great  men  had  very 
early  cast  a spell  upon  the  boy’s  mind,  which  was  to  hold  him 
until  the  end  of  his  life.  Their  genius  filled  him  with  the  same 
wondering  awe  that  he  felt  in  the  presence  of  the  Old  Testament 
prophets,  as  they  appeared  to  his  visionary  sight.  Painters, 
sculptors  and  artists  of  every  other  kind  stood  side  by  side  with 
the  prophets,  in  his  conception  of  them  as  the  great  inter- 
mediaries between  man  and  the  lost  world  of  eternity  where  all 
the  beauties  of  time  are  imagined  and  made.  A direct  knowledge 
of  fine  pictures  was  in  his  case  necessarily  limited  to  such  as  he 
could  obtain  access  to  in  the  houses  of  the  nobility  and  gentry, 
or  now  and  then,  upon  their  changing  hands,  in  the  sale-room 
or  with  the  dealers.  But  if  he  might  never  come  face  to  face 
with  the  splendour  of  the  originals,  he  could  at  least  discover 
in  the  prints  from  them  something  of  their  dim-reflected  out- 
lines. So  to  the  study  of  prints  he  betook  himself  as  a child, 
that  he  might  wander  in  fancy  through  the  churches  and 
galleries  of  Europe,  storing  his  mind  with  the  great  examples 
of  the  past,  and  seeking  counsel  and  inspiration  from  the 
makers  of  these  precious  heirlooms  of  the  world. 

It  was  Blake’s  early  ambition  to  be  himself  a painter.  With 
this  end  in  view,  at  the  age  of  ten  he  was  sent  by  his  father  to 
Pars’  drawing-school  in  the  Strand.  He  began  at  the  same 
period  to  be  from  time  to  time  the  happy  recipient  of  small 
sums  for  the  purchase  of  prints.  Many  of  his  play-hours 
would  henceforth  be  spent  in  haunting  the  sale-rooms,  Christie’s 
or  Langford’s,  on  the  watch  for  a cheap  lot,  or  in  ransacking 

17 


B 


The  Engravings  of  TVilliam  Blake 

the  “ rubbish-heaps  ” at  the  doors  of  the  printsellers  in  quest  of 
a bargain.  The  boy  would  have  none  of  the  fashionable  stuff  of 
his  day.  His  choice  fell  upon  the  great  historical  designers  of 
the  linear  school,  whose  works,  or  all  but  the  finest  impressions 
of  them  (besides  a few  rarities,  which  even  in  those  days  were 
absorbed  by  the  collections  of  a few  rich  amateurs),  could  be  had 
then,  as  they  can  be  still,  at  a trifling  expense  ; — and  it  was 
with  the  worth  of  the  original  invention  rather  than  with 
questions  of  state  or  quality  in  the  engraved  copy  that  Blake 
was  concerned.  His  choice  of  masters  found  little  sympathy 
among  his  youthful  companions  of  the  drawing-school,  who 
would  laugh  at  what  thev  called  his  “mechanical"  taste.  Nor 
in  fact  did  they  accord  any  more  with  the  ideas  of  more  serious 
people.  “ I was  once,”  he  wrote  some  time  later  in  a character- 
istic style,  upon  the  margin  of  his  own  copy  of  Reynolds’s 
“ Discourses,"  “ looking  over  the  prints  from  Rafael  and  Michael 
Angelo  in  the  library  of  the  Royal  Academy  ; Moser  (then 
Keeper)  came  to  me  and  said,  ‘ You  should  not  study  these  old 
hard,  stiff  and  dry  unfinished  works  of  art.  Stay  a little,  and  I 
will  show  you  what  you  should  study.’  He  then  went  and  took 
me  down  Le  Brun’s  and  Rubens’s  galleries.  How  did  I secretly 
rage.  I also  spoke  my  mind.  ...  I said  to  Moser,  ‘These 
things  that  you  call  finished  are  not  even  begun.  How  can  they 
then  be  finished  ? The  man  who  does  not  know  the  beginning 
never  can  know  the  end  of  art.’  ” “ I am  happy  to  say,"  he  adds 
elsewhere  in  the  same  notes,  “ that  Rafael  never  was  from  my 
earliest  childhood  hidden  from  me.  I saw,  and  I knew  immedi- 
ately the  difference  between  Rafael  and  Rubens.”  The  principle 
that  the  essence  of  a body  consisted  in  its  for??i  was  one  that 
in  his  maturer  years  Blake  was  never  tired  of  enunciating.  Upon 
this  conviction,  in  fact,  a great  number  of  his  artistic  predilections 
and  prejudices  were  dependent.  In  the  expression  of  form,  it 
was  the  bounding  line  whereby  a body  was  at  once  contained 
within  itself  and  made  distinguishable  from  its  surroundings, 
that  he  felt  to  be  the  important  factor.  It  was  not,  of  course, 
the  mere  outline  or  the  silhouette  of  an  object  against  its  ground 

18 


The  Engravings  of  William  Blake 

that  he  had  in  mind.  His  definition  of  good  draughtsmanship 
included  the  accurate  delineation  of  the  thing  depicted  in  all 
parts.  His  favourite  masters  were  those  in  whom  this  precision 
of  form  was  to  be  found  in  its  highest  perfection.  Raphael, 
Michelangelo,  Diirer, — such  were  the  gods  of  his  imagination. 
But  their  supremacy,  he  well  knew,  was  not  unchallenged  by 
the  world.  There  were  other  great  ones,  with  many  worshippers, 
by  whom  this  firm  outline  had  been  renounced  in  the  search 
for  other  beauties.  Against  those  giants  of  error  who  conspired 
to  dethrone  his  gods,  Blake  presented  himself  as  the  god-sent 
herald  of  war.  “ There  is  a class  of  artists,’'’  he  writes  in  his  “ De- 
scriptive Catalogue  ” “ whose  whole  art  and  science  is  fabricated 
for  the  purpose  of  destroying  art  ; . . . who  endeavour  to  raise 
up  a style  against  Rafael,  Mich.  Angelo,  and  the  Antique  ; 
. . . who  separate  Painting  from  Drawing, — those  are  the 
men.”  This  gigantomachia  is  the  continual  theme  of  his 
writings  on  art.  Raphael  and  Michelangelo  and  Diirer  are 
everywhere  to  be  found  there,  ranged  against  Titian  and  Rubens 
and  Rembrandt — a mighty  battle,  of  which  to  some  the  issue 
might  seem  doubtful,  but  Blake  was  one  who  knew  no  doubt. 

It  would  be  easy,  then,  without  anv  further  evidence  of  the 
facts,  to  imagine  what  kind  of  a print  collection  it  was  that 
Blake  began  in  boyhood  to  bring  together  ; — and  from  the  prin- 
ciples upon  which  his  earliest  choice  relied,  he  never  swerved. 
How  gladly  would  one  know  every  item  it  contained.  But  it  is  pos- 
sible only  to  supplement  the  general  indication  of  its  character 
alreadv  given,  by  the  mention  of  a few  pieces  either  known  or 
likely  to  have  been  there.  Prints  after  Michelangelo  were 
bought  as  models  from  the  outset  of  his  studentship.  Among 
those  obtained  by  him  in  these  early  days  may  well  have  been 
a set  of  Adam  Ghisi’s  reproductions  of  figures  and  groups  from 
the  Sistine  Chapel.  Several  copies  of  these  engravings,  done  by 
Blake  in  pen  and  wash  at  an  early  period  are  to  be  found  in  the 
Print  Room.  Raphael  and  Giulio  Romano,  his  scholar,  were  next 
in  honour  of  the  Italians,  and  their  works  are  known  to  have 
figured  largely  among  his  youthful  purchases.  Marc  Antonio 

!9 


The  Engravings  of  W i Hi am  Blake 

and  Giulio  Bonasone,  among  Italian  engravers,  were  also  held 
in  great  esteem  by  him.  Albrecht  Durer  was,  of  course,  pre- 
eminent among  the  great  names  in  the  northern  schools.  An 
example  of  the  “ Melencolia,”  we  are  told,  hung  for  a great  part  of 
Blake’s  life  upon  his  workroom  wall.  And  there  were,  doubtless, 
other  specimens  of  the  master  bought  as  occasion  offered  with 
hard-won  shillings,  among  the  best-loved  treasures  in  his  port- 
folio. “ The  Penance  of  St  John  Chrysostom,’'  whence  the  pattern 
of  the  saint's  figure  creeping  like  a beast  in  the  background 
was  adopted  by  him  for  his  own  stupendous  image  of  the  out- 
cast Nebuchadnezzar,  may  well  have  been  one  of  these,  and  not 
impossibly,  too,  “ The  Ecstasy  of  St  Mary  Magdalene,” — for  the 
subject  of  this  scarce  and  lovely  woodcut  seems  to  have  been 
the  origin  of  a somewhat  similar  theme  of  his  own  (see  No.  16 
in  the  Catalogue.)  Among  the  lesser  Germans,  Bartel  Beham 
was  there,  in  a rare  early  state  of  his  little  print  of  “ Judith 
with  the  Head  of  Holfernes”  (dated  1523),  which  is  known 
to  have  been  among  those  that  were  given  by  Blake  as  models 
to  the  young  Butts  on  his  becoming  his  pupil  ine  ngraving. 
The  Dutchman,  Maerten  van  Heemskerck  may  be  mentioned, 
too,  among  Blake’s  favourites,  although  he  well  might  have 
helped  to  have  put  him  out  of  love  with  his  own  theories.  For 
theories  in  fact  are  but  a poor  makeshift  for  inspiration. 
Heemskerck  was  in  theory  a sort  of  little  Dutch  “Michelangelo” ; 
and  his  productions  have  at  any  rate  all  the  superficial  qualities 
most  admired  by  Blake  ; — the  result  being,  however,  nearly 
akin  to  Blake’s  own  work,  when  vision  failed  him  ; the  “ deter- 
minate outline ''  revealing  no  form  and  the  carefully  considered 
“ minute  particulars”  affording  no  illusion  of  substance.  Of  the 
works  of  the  English  engravers,  Blake  seems  to  have  cared 
much  for  the  early  portraits,  and  some  of  them  would  doubt- 
less find  a place  in  his  collection.  In  his  “ Public  Address,” 
he  bitterly  complains  of  the  deterioration  of  the  art  of  engraving 
in  England  since  the  time  of  these  portraits.  “ Compare,”  he 
there  contemptuously  exclaims,  “ the  prints  of  Bartolozzi, 
Woollett,  Strange,  etc.,  with  the  old  English  portraits  ; that  is. 


20 


The  Engravings  of  JVilliam  Blake 

compare  the  modern  art  with  the  art  as  it  existed  previous  to  the 
entrance  of  Vandyck  and  Rubens  into  the  country,  since  which 
event  engraving  is  lost.”  “ I am  sure,”  he  continues,  “ the  result  of 
the  comparison  . . will  (show)  that  engraving,  by  losing  drawing, 
has  lost  all  character  and  all  expression.”  Hogarth  is  mentioned 
in  the  same  place  with  praise.  His  “execution  cannot  be  copied 
or  improved.”  One  of  his  designs,  that  of  a scarce  print  repre- 
senting “ Satan,  Sin  and  Death  at  Hell’s  Gate  ” 1 (from  “ Paradise 
Lost”)  was  largely  borrowed  from  by  Blake  in  a water-colour 
drawing  of  the  same  subject.  He  was  also  himself  the  engraver 
of  the  well-known  picture  of  “ The  Beggar’s  Opera.”  (See 
No.  71,  below.) 

The  love  of  print-collecting,  for  the  knowledge  it  gave  him 
both  of  the  designs  of  the  great  masters  and  of  the  technical 
methods  adopted  by  the  various  schools  of  engraving,  never  lost 
its  hold  upon  Blake  ; and  it  was  only  quite  late  in  life,  when 
stress  and  poverty  had  well-nigh  bereft  him  of  the  bare  means 
of  existence,  that  he  was  prevented  from  adding  to  the  little 
collection,  the  beginnings  of  which  were  associated  with  his 
earliest  memories.  In  the  end  it  became  necessary  for  him  to 
part  with  the  whole  of  it.  “ Before  I knew  his  distress,”  wrote 
a friend  2 who  would  surely  have  saved  it  for  him,  “ he  had 
sold  all  his  collection  of  old  prints  to  Messrs  Colnaghi  & Co.” 
This  final  separation  from  his  beloved  old  masters,  the  only 
friends  who  had  never  failed  him,  is  one  of  the  most  touching 
episodes  in  a life  that  is  crowded  enough  with  sorrows  and 
disappointments.  It  was  the  coping-stone  of  the  awful  tower  of 
famine  which  the  world  had  built  up  around  him. 

At  the  age  of  fourteen,  the  boy  was  called  upon  to  come  to 
a decision  in  regard  to  his  future  career.  His  dreams  of  becoming 
a painter  were  not  yet  to  be  realised.  He  was  unwilling  to 
impose  upon  his  family  the  burden  of  the  high  premium  which 

1 Reproduced  in  Samuel  Ireland’s  “ Graphic  Illustrations  of  Hogarth”  (1794),  facing 
P-  178. 

2 John  Linnell.  See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906), 
p.  227. 


2 1 


The  Engravings  of  William  Blake 

was  required  upon  entering  the  studio  of  a suitable  master.  An 
engraver’s  profession  was,  therefore,  by  his  own  request  deter- 
mined upon  for  him.  His  father,  willing  to  do  the  best  for  him, 
took  him,  with  a view  to  apprenticing  him  to  William  Wynne 
Ryland,  the  King’s  engraver  and  one  of  the  most  eminent  of 
his  time.  But  the  boy  would  have  none  of  him  ; “ the  man,”  he 
remarked,  “ looked  as  if  he  would  live  to  be  hanged.”  Ryland, 
twelve  years  later,  was  hanged  for  forgery.  James  Basire, 
engraver  to  the  Society  of  Antiquaries,  was  next  approached  on 
Blake’s  behalf,  and  his  apprentice  he  became  at  a premium  of 
fifty  guineas.  The  master  of  his  choice  was  indeed  a worthy  and 
industrious  man,  but  the  method  of  engraving  which  he  both 
practised  and  taught  was  of  the  purely  mechanical  kind  suitable 
to  the  business  of  copying  ancient  monuments  with  the  fidelity 
prescribed  by  his  archaeological  employers.  A couple  of  years 
were  spent  by  Blake  in  acquiring  the  rudiments  of  this  melan- 
choly art;  and  “had  it  not  been,”  says  Tatham,  “for  his 
having  frequent  quarrels  with  his  fellow  apprentices,  concern- 
ing matters  of  intellectual  argument,”  he  would  have  been 
“ doomed  for  ever  to  furrow  upon  a copper  plate  monotonous 
and  regular  lines,  placed  at  even  distances,  without  genius  and 
without  form.”  As  the  result  of  his  disagreements,  and  as 
much,  no  doubt,  on  account  of  his  marked  capability  as  a 
draughtsman,  he  was  henceforth  principally  made  use  of  outside 
the  workshop,  being  sent  by  his  master  to  make  drawings  of 
the  monuments  in  Westminster  Abbey  and  other  London 
churches.  “ There,”  writes  Malkin,  in  his  valuable  record  of 
Blake’s  early  life,  “ he  found  a treasure,  which  he  knew  how 
to  value.  He  saw  the  simple  and  plain  road  to  the  style  of  art 
at  which  he  aimed,  unentangled  in  the  intricate  windings  of 
modern  practice.  The  monuments  of  Kings  and  Queens  in 
Westminster  Abbey,  which  surround  the  chapel  of  Edward  the 
Confessor,  particularly  that  of  King  Henry  the  Third,  the 
beautiful  monument  and  figure  of  Queen  Elinor,  Queen 
Philippa,  King  Edward  the  Third,  King  Richard  the  Second 
and  his  Queen,  were  among  his  first  studies.  All  these  he  drew 


The  Engravings  of  JVilliam  Blake 

in  every  point  he  could  catch,  frequently  standing  on  the 
monument,  and  viewing  the  figures  from  the  top.  The  heads  he 
considered  as  portraits  ; and  all  the  ornaments  appeared  as 
miracles  of  art,  to  his  Gothicised  imagination.  He  then  drew 
Aymer  de  Valence’s  monument,  with  his  fine  figure  at  the  top. 
Those  exquisite  little  figures  which  surround  it,  though  dread- 
fully mutilated,  are  still  models  for  the  study  of  drapery.  But  I 
do  not  mean  to  enumerate  all  his  drawings  since  they  would  lead 
me  over  all  the  old  monuments  in  Westminster  Abbey,  as  well 
as  over  other  churches  in  and  about  London.”  One  of  these 
drawings  made  a lasting  impression  upon  his  friend,  Stothard, 
who  speaking  of  him  to  J.  T.  Smith,  shortly  after  his  death, 
mentioned  with  especial  praise  “a  remarkable  correct  and  fine 
drawing  of  the  head  of  Queen  Philippa,  from  her  monumental 
effigy  in  Westminster  Abbey,  for  Gough’s  ‘Sepulchral  Monu- 
ments’ engraved  by  Basire.”  It  is  suggested  by  Mr  Lethaby 
that  a series  of  copies  now  in  the  library  of  the  Society  of 
Antiquaries,  done  from  the  paintings  on  the  tombs  and  sedilia  in 
the  Presbytery  of  the  Abbey  are  by  Blake’s  hand.  These  copies 
were  executed  in  the  summer  of  1 775,  at  the  time  of  the 
removal  of  the  tapestries  which  had  covered  the  tombs,  for  Sir 
Joseph  Ayloffe  and  were  published  by  him  in  his  “Account  of 
Some  Ancient  Monuments  in  Westminster  Abbey  ” (see  No.  1 14 
in  the  Catalogue).  Both  drawings  and  engravings  bear  Basire  s 
signature,  but  this  fact  dees  not,  of  course,  preclude  the  possibility 
of  their  being  actually  the  work  of  his  apprentice.  It  is  stated 
by  Malkin  that  Blake  was  at  this  time  also  occasionally  em- 
ployed,— “ especially  in  winter,”  in  making  engravings  from  his 
drawings  of  Gothic  monuments.  None  with  his  signature  are 
known,  but,  as  in  the  case  of  the  drawings,  his  work  must  be 
sought  for  under  his  master’s  name.  A list  of  books,  belonging 
to  this  period,  containing  prints  either  wholly  or  in  part  at- 
tributable to  him,  will  be  found  in  Section  IV.  of  the 
Catalogue. 

A solitary  instance  of  an  independent  piece  of  engraving 
produced  by  Blake  in  the  years  of  his  apprenticeship  is  the 

23 


The  Engravings  of  JVilliam  Blake 

“Joseph  of  Arimathea  among  the  Rocks  of  Albion”  (No.  i in 
the  Catalogue).  It  is  dated  1773,  when  he  was  sixteen  years  old, 
and  is  a remarkable  performance  for  a youth  of  that  age.  It  is 
interesting  to  observe  in  connection  with  this  print,  that  the 
two  chief  influences  in  the  moulding  of  his  artistic  character. 
Gothic  architecture  and  the  designs  of  Michelangelo,  are  there 
already  typified, — in  his  debt  to  the  latter  for  his  figure  of 
Joseph  and  in  his  description  of  the  saint  himself,  as  “ one 
of  the  Gothic  Artists  who  built  the  Cathedrals.”  The  future 
mystical  development  of  his  mind,  which  was  later  to  find  ex- 
pression in  the  Prophetical  Books,  is  also  foreshadowed  in  the 
wording  of  the  title  and  of  the  rest  of  the  explanatory  matter 
which  accompanies  the  print.  The  “Joseph  of  Arimathea”  has 
a further  value  in  making  it  possible  to  identify  a certain 
number  of  the  engravings  which  were  done  by  Blake  for 
Basire  and  published  under  his  master’s  name.  An  instance  may 
be  given  of  a vignette  of  the  “ Deluge,”  occurring  in  Jacob 
Bryant’s  “ Ancient  Mythology,”  where  a comparison  of  the 
treatment  of  the  submerging  waters  with  that  of  the  sea  in  the 
background  of  the  “Joseph”  provides  unmistakable  evidence  of 
Blake’s  authorship.  (See  No.  1 1 1 in  the  Catalogue.) 

Blake  remained  seven  years  with  Basire.  Five  of  these  years 
were  lived  alone  with  the  Gothic  past  ; and  his  imagination 
became  crowded  with  the  august  shadows  of  its  mighty  dead, — 
kings,  counsellors,  warriors, — all  as  they  were  nobly  portrayed 
by  the  simple  craftsman  of  their  day.  “ If  all  his  drawings,” 
writes  Tatham,  “were  enumerated  from  Westminster  Abbey, 
as  well  as  many  other  churches  in  and  about  London,  the 
multitude  would  no  doubt  astonish  the  calculator,  for  his 
interest  was  highly  excited  and  his  industry  equally  inexhaust- 
ible. These  things  he  drew  beautifully  ; ever  attentive  to  the 
delicacies  and  timorous  lineaments  of  the  Gothic  handling.” 
The  Gothic  spirit  took  possession  of  his  soul.  Good  service  it 
did  him,  too,  a corrective  above  all  as  to  the  harmful  tendency 
of  his  time  towards  an  exaggerated  Michelangelism.  The  best 
of  his  prints  and  drawings  are  those  which  bear  the  mark  of 

24 


The  Engravings  of  W i III am  Blake 

this  tempering  influence.  Memories  of  Gothic  form  and  Gothic 
ornament  everywhere  abound  in  his  designs.  “ Gothic  is  living 
form  ! ” he  exclaims  in  his  note  “ On  Virgil,”  written  near  the 
end  of  his  life  ; and  his  other  writings  are  full  of  a like  enthusi- 
asm. “ His  imagination,”  writes  Tatham,  whose  impressions 
are  derived  from  his  acquaintance  with  Blake  during  his  last 
years,  “ ever  after  wandered  as  in  a cloister,  or  clothing  itself  in 
the  dark  stole  of  mural  sanctity,  it  dwelt  amidst  the  Druid 
terrors.  His  mind  being  simplifled  by  Gothic  forms,  and  his 
fancy  imbued  with  the  livid  twilight  of  past  days,  it  chose  for 
its  quaint  company  such  sublime  but  antiquated  associates  as 
the  fearful  Merlin,  Arthur  and  the  knights  of  the  Round 
Table,  the  just  and  wise  Alfred,  King  John,  and  every  other 
hero  of  English  history  and  romance.  These  indigenous 
abstractions  for  many  of  the  following  years  occupied  his  hand, 
and  ever  after  tinctured  his  thoughts  and  perceptions.  The  back- 
ground of  his  pictures  nearly  always  exhibited  Druidical  stones 
and  their  symbols  of  English  antiquity.  Albion  was  the  hero  of 
his  pictures,  prints  and  poems.  He  appeared  to  be  the  human 
abstract  of  his  mystical  thoughts.” 

On  the  termination  of  the  period  of  his  apprenticeship  to 
Basire,  Blake  (in  1778)  entered  the  Royal  Academy  school. 
He  began  about  the  same  time  to  produce  a number  of  small 
historical  pictures  (in  water-colour)  in  the  feeble  manner  of 
Hamilton  and  Mortimer.  With  one  of  them  (“The  Death  of 
Earl  Goodwin”)  he  appeared  for  the  first  time  (in  1780)  at  the 
Academy  exhibition.  His  career  as  an  engraver  begins  also  at 
this  date.  His  first  performances  as  an  independent  worker  are 
said  by  Malkin  to  have  been  from  a couple  of  designs  from  the 
“ History  of  England,”  done  a year  or  two  earlier  “ in  the  holiday 
hours  of  his  apprenticeship.”  The  identity  of  this  early  pair  of 
prints  cannot  now  be  established  with  certainty.  “ The  Penance 
of  Jane  Shore”  mentioned  by  Dr  Garnett  but  otherwise  un- 
known (see  No.  2 in  the  Catalogue)  may  possibly  be  one  of 
them.  The  other  may  perhaps  be  the  “ Edward  and  Elinor  ” 
appearing  in  Blake’s  Prospectus  of  10th  October  1793  (No  11  in 

25 


The  Engravings  of  William  Blake 

the  Catalogue).  The  drawing  which  is  probably  the  original  of 
this  latter  print  is  assigned  in  the  list  in  Gilchrist’s  “Life”  to 
c.  1779.  The  general  character  of  the  engraving  would  seem 
also  to  point  a date  a good  deal  earlier  than  that  of  the 
Prospectus  ; and  the  plate  may  well  have  been  begun  at  the 
period  of  Blake’s  studies  at  the  Academy  and  have  been  set 
aside  tor  want  of  leisure  to  complete  it.  The  only  example  of 
the  print  known  to  the  writer  is  an  imperfect  one,  in  which  the 
figures  of  the  date  in  the  imprint  are  cut  into  ; the  remaining 
figures,  however,  together  with  the  address  13  Hercules 
Buildings,  whither  Blake  did  not  remove  until  1793,  make  it 
certain  that  the  1 8 th  August  1793  was  the  actual  date  of  its 
publication. 

The  dawn  of  Blake’s  life  as  a great  imaginative  designer  is 
appropriately  heralded  by  his  print  of  “ Glad  Day  ” (dated 
1780  ; No.  3 in  the  Catalogue).  All  the  joy  and  beauty  of 
youth  are  embodied  in  this  wonderful  invention.  It  is  more 
ethereal,  more  purely  visionary  than  almost  any  of  his  more 
conscious  statements  of  visionary  experience,  for  the  reason  that 
the  image  is  more  simply  and  humanly  seen.  Never  perhaps  did 
he  equal  this  perfect  image  of  unfettered  delight.  There  is 
in  the  sweetest  of  his  songs  in  “ Poetical  Sketches”  a touch  of 
melancholy,  which  is  absent  here  ; and  in  the  enjoyment  of  the 
most  childlike  of  his  “ Songs  of  Innocence,”  the  thoughts  can 
never  quite  be  free  of  the  sense  of  a contrary  state.  And  soon, 
too,  his  own  mind  was  in  a manner  to  become  bound  in  the 
very  chains, — forged  by  abstractions  of  religion  and  morality, — 
that  he  wished  to  lift  from  mankind.  Things  gloomy  and 
forbidding  mingle  hereafter  in  his  visions  with  what  is  happy 
and  beautiful  ; and  in  the  loveliest  of  his  religious  themes,  even 
in  such  designs  as  “The  River  of  Life”  or  “ The  Sons  of  God 
shouting  for  Joy,”  brimming  over  as  they  are  with  the  gladness 
of  a spiritual  ecstasy,  it  cannot  wholly  be  forgotten  that  it  is 
through  renunciation  and  pain  that  the  soul’s  way  lies  to  these 
happy  regions.  But  here  all  is  delight,  as  youth  sets  out  on  its 
way  to  illumine  the  world. 

26 


The  Engravings  of  William  Blake 

Blake  was  now  established  as  a professional  engraver.  His 
career  as  such  begins  with  a number  of  book  illustrations,  well 
engraved  in  the  pretty,  conventional  manner  of  the  time,  for  the 
most  part  after  Stothard’s  designs.  He  became  acquainted  with 
Stothard  in  1780,  having  been  introduced  to  him,  says  J.  T. 
Smith,  by  an  engraver  named  Trotter,  “who  received  in- 
structions from  Blake  and  who  was  a pattern-draughtsman  to  the 
calico-painters.”  Their  relationship  as  designer  and  engraver, 
which  seems  to  have  begun  a year  or  so  before  their  actual  meet- 
ing (see  Nos.  43  and  44  in  the  Catalogue)  soon  developed  into  a 
close  friendship  which  lasted  for  some  thirty  years,  until  it  was 
interrupted  by  the  unhappy  misunderstanding,  arising  from  their 
rival  pictures  of  the  “ Canterbury  Pilgrimage.”  Between  the 
years  1779  and  1789  Blake  engraved  in  all  thirty-seven  plates, 
most  of  them  of  small  dimensions,  from  the  drawings  of  his 
friend.  The  nine  illustrations  of  Ritson’s  “ Collection  of  English 
Songs”  (published  in  1783  ; No  5 5 in  the  Catalogue)  may  be 
mentioned  as  quite  the  happiest  products  of  their  collaboration  ; 
they  may  indeed  be  counted  among  the  best  work  of  their 
kind  done  in  England  at  the  time.  Besides  the  book  illustrations 
which  form  the  bulk  of  his  work  during  these  years,  Blake  also 
engraved  a few  separate  plates  of  “ fancy  ” subjects.  A pair  of 
such  prints, — “The  Fall  of  Rosamund,”  after  Stothard,  and 
“ Robin  Hood  and  Clorinda  ” after  Meheux  (Nos.  56  and  57  in 
the  Catalogue),  appeared  in  1783  ; and  a second  pair,  “ Zephyrus 
and  Flora  ” and  “ Calisto,”  both  after  Stothard  (Nos.  59  and  60 
in  the  Catalogue)  were  issued  in  the  following  year.  They  have 
little  in  them  that  is  characteristic  of  himself,  and  are  inferior 
to  the  work  of  the  regular  practitioners  in  this  style,  with  whom 
they  challenge  comparison.  A print  after  Watteau,  entitled 
“Morning  Amusement”  (No.  46  in  the  Catalogue),  published 
in  1782,  has  not  been  seen  by  the  writer,  but  it  is  unlikely  that 
Blake  would  be  successful  in  his  rendering  of  a genius  so 
alien  to  his  own  as  that  of  the  delicate  penciller  o i fetes-cham- 
petres.  In  the  “Venus  dissuades  Adonis  from  Hunting”  (first 
issued  in  1787  ; No.  64  in  the  Catalogue),  he  has,  however, 

27 


The  Engravings  of  JVilliam  Blake 

lent  himself  with  singular  felicity  to  a task  that  must  have  been 
little  congenial  to  him,  and  the  print  is  possessed  of  consider- 
able prettiness  and  charm.  A pair  of  prints  after  Morland, — the 
“ Industrious  Cottager  ” and  “ The  Idle  Laundress  ” (Nos.  66  and 
67  in  the  Catalogue),  belonging  to  the  following  year,  are 
devoid  of  conspicuous  merit,  although  the  former  of  them,  at 
least,  holds  a creditable  place  among  the  engraved  work  of  that 
artist.  The  rendering  of  Hogarth’s  “ Beggar’s  Opera  ” (published 
in  1790  ; No.  71  in  the  Catalogue)  is  a somewhat  overlaboured 
production,  but  if  it  fails  to  convey  a sense  of  the  dexterous 
brushwork  of  the  original,  its  spirit  is  retained  and  the  print  is 
not  without  a solidity  and  character  of  its  ov/n.  During  all  this 
period,  or  more  accurately,  between  the  date  of  the  publication 
of  his  “ Glad  Day  ” and  that  of  the  issue  of  the  first  of  his  series 
of  engraved  books  (in  1788  ?),  in  only  a single  instance  does 
Blake  appear  as  the  engraver  of  his  own  design.  His  frontispiece 
to  “An  Elegy,  set  to  music  by  Thos.  Commins”  (published  in 
1786  ; see  No.  4 in  the  Catalogue),  has  thus  a special  interest 
in  view  of  the  scarcity  of  examples  wherein  the  early  stages  of 
his  artistic  development  may  be  traced.  Its  sentimental  theme, 
prescribed  no  doubt  by  the  musical  composer  himself,  is 
unfavourable  to  it  as  an  expression  of  the  designer’s  personality, 
but  it  has  none  the  less  a pleasing  simplicity  and  naive  charm 
by  which  it  is  redeemed  from  the  commonplace. 

It  will  be  seen  that  the  first  ten  years  of  Blake’s  career  as  an 
engraver  were  amply  filled  with  commissions,  and  he  is  likely 
to  have  been  in  relatively  prosperous  circumstances.  His 
principal  employers  were  the  booksellers, Johnson  and  Harrison. 
In  1784,  however,  he  set  up  shop  on  his  own  account  as 
engraver  and  printseller,  in  partnership  with  James  Parker 
(also  an  engraver),  and  became  himself  the  publisher  of  several 
of  his  own  prints.  One  of  those  already  alluded  to,  the  “ Zephyrus 
and  Flora,”  has  the  name  of  the  firm  “ Parker  & Blake,”  with 
the  address  “No.  27  Broad  St.,  Golden  Square  ” in  the  imprint, 
and  the  like  are  probably  to  be  discovered  on  its  companion,  the 
“ Calisto,”  and  upon  other  prints  of  this  period  engraved  both 

28 


The  Engravings  of  JVilliam  Blake 

by  Blake  himself  and  his  partner.  The  venture  proved  a financial 
failure  and  was  soon  abandoned. 

The  death  of  his  favourite  brother,  Robert,  which  took  place 
early  in  1787,  may  be  taken  to  mark  a new  stage  in  Blake’s 
artistic  development,  since  the  discovery  of  the  original  process, 
by  which  so  many  of  his  most  characteristic  inventions  are 
executed,  is  intimately  connected  with  this  event.  His  brother 
had  been  for  several  years  his  pupil  in  drawing,  and  a certain 
number  of  his  designs  of  a mystical  character  are  still  extant, — 
one  of  them,  it  will  be  seen,  affording  the  subject  of  an  early 
experiment  in  the  new-found  method  (see  No.  65  in  the 
Catalogue).  Death  itself,  as  it  proved,  was  unable  to  part  the 
close  bond  of  sympathy  existing  between  the  two  brothers.  “ I 
know,”  Blake  wrote  some  years  later  in  a letter  to  Hayley, 
“ that  our  deceased  friends  are  more  really  with  us  than  when 
they  were  apparent  to  our  mortal  part.  Thirteen  years  ago  I lost 
a brother,  and  with  his  spirit  I converse  daily  and  hourly  in 
the  spirit,  and  see  him  in  my  remembrance,  in  the  regions  of 
my  imagination.”  It  was  in  one  of  these  spiritual  communings 
with  his  brother,  shortly  after  his  death,  that  Blake  subsequently 
claimed  to  have  received  the  inspiration  in  the  light  of  which 
his  process  was  evolved.  The  following  account  of  the  incident 
is  given  by  J.  T.  Smith,1  who  may  be  supposed  to  have  had  the 
story  from  Blake’s  own  lips  : — “ Blake’s  peace  of  mind,  as  well 
as  that  of  his  Catherine,  was  much  broken  by  the  death  of  their 
brother  Robert,  who  was  a most  amicable  link  in  their  happi- 
ness ; and,  as  a proof  how  much  Biake  respected  him,  whenever 
he  beheld  him  in  his  visions,  he  implicitly  attended  to  his 
opinion  and  advice  as  to  his  future  projected  works.  I should 
have  stated,  that  Blake  was  supereminently  endowed  with  the 
power  of  disuniting  all  other  thoughts  from  his  mind,  whenever 
he  wished  to  indulge  in  thinking  of  any  particular  subject  ; and 
so  firmly  did  he  believe,  by  this  abstracting  power,  that  the 
objects  of  his  compositions  were  before  him  in  his  mind’s  eye, 
that  he  frequently  believed  them  to  be  speaking  to  him.  This  I 

1 See  his  “Nollekens  and  his  Times,”  1828. 


29 


The  Engravings  of  JEilliam  Blake 

shall  now  illustrate  by  the  following  narrative.  Blake,  after 
deeply  perplexing  himself  as  to  the  mode  of  accomplishing  the 
publication  of  his  illustrated  songs,  without  their  being  subject 
to  the  expense  of  letterpress,  his  brother  Robert  stood  before 
him  in  one  of  his  visionary  imaginations,  and  so  decidedly 
directed  him  in  the  way  in  which  he  ought  to  proceed,  that  he 
immediately  followed  his  advice,  by  writing  his  poetry,  and 
drawing  his  marginal  subjects  of  embellishments  in  outline 
upon  the  copper-plate  with  an  impervious  liquid,  and  then 
eating  the  plain  parts  or  lights  away  with  aqua-fortis  consider- 
ably below  them,  so  that  the  outlines  were  left  as  a stereotype. 
The  plates  in  this  state  were  then  printed  in  any  tint  that  he 
wished,  to  enable  him  or  Mrs  Blake  to  colour  the  marginal 
figures  up  by  hand  in  imitation  of  drawings.”  It  is  likely  enough 
that  Blake’s  process  first  took  a definite  shape  in  his  mind  at  the 
time  when  his  thoughts  were  freshly  filled  with  memories  of 
his  departed  brother.  It  is  even  probable  that  while  they  were 
still  united,  the  subject  of  technical  methods  was  one  that  they 
had  discussed  together,  and  the  later  recollection  of  a hint 
thrown  out  by  his  brother  on  the  occasion  of  one  of  these 
conversations  may  well  have  led  to  the  solution  of  a problem 
that  had  long  engaged  him.  There  is  evidence,  as  Mr  Sampson 
points  out,1  that  for  some  years  previously  Blake’s  mind  had 
been  occupied  with  the  idea  of  some  new  kind  of  illuminated 
printing  that  would  enable  him  to  wed  together  his  poems  and 
designs  and  to  issue  them  to  the  public  on  his  own  account, 
independent  of  the  publishers,  who  had  shown  themselves 
unwilling  to  receive  them.  The  following  passage  is  quoted  by 
Mr  Sampson  in  this  connection  from  an  early  MS.  belonging 
to  c.  1783-1784,  known  as  “An  Island  in  the  Moon.”  “ . . . 
Illuminating  the  Manuscript. — ‘Aye,’ said  she,  ‘ that  would  be 
excellent.’  ‘Then,’  said  he,  ‘I  would  have  all  the  writing 
Engraved  instead  of  Printed,  at  every  other  leaf  a high 
finished  print,  all  in  three  Volumes  folio,  and  sell  them  a 
hundred  pounds  apiece.  They  would  Print  off  two  thousand  ’ 

1 In  his  “Blake’s  Poetical  Works  (1905),  p.  xvi. 

3° 


The  Engravings  of  JVilliam  Blake 

‘ Then,’  said  she,  ‘ whoever  will  not  have  them,  will  be  ignorant 
fools  and  will  not  deserve  to  live.’  ” A more  particular  account 
of  Blake’s  method  as  it  was  applied  by  him  in  the  various  books 
of  songs  and  prophesies  for  which  it  was  primarily  devised, 
would  fall  outside  the  scope  of  the  present  volume.  In  view, 
however,  of  the  fact  that  it  was  also  employed  by  him  in  some 
separate  plates,  a few  words  may  be  added  in  further  explanation 
of  its  nature.  The  new  process  may  be  described  as  one  of  Relief- 
Etching  ; that  is  to  say,  after  the  biting  of  the  plate,  the  lines 
of  the  design  or  the  letters  of  the  text  were  left  standing  out  in 
relief,  instead  of  being  sunk  into  it,  as  in  the  ordinary  intaglio 
method  ; in  other  words,  the  whites  instead  of  the  darks  were 
etched.  The  actual  ingredients  of  the  fluid  with  which  text  and 
design  were  drawn  upon  the  copper  remained  Blake’s  secret.  It 
must,  however,  have  been  of  the  nature  of  stopping-out  varnish, 
and  any  substance  that  would  at  once  flow  easily  from  the  brush 
and  be  proof  against  the  action  of  the  acid  would  have  answered 
his  purpose.  It  is  stated  by  Allan  Cunningham,1  that  at  the 
time  of  his  discovery  Blake  had  already  completed  a series  of 
“ sixty-five  designs  of  his  Days  of  Innocence  (sic),  and  was  medi- 
tating ...  on  the  best  means  of  multiplying  their  resemblance 
in  form  and  in  line.”  In  addition  to  his  manifest  errors  in  regard 
both  to  the  title  of  the  work  in  question  and  the  number  of 
designs  contained  in  it,  the  biographer  is  certainly  also  mistaken 
as  to  the  existence  of  a set  of  drawings  in  colour  for  the  “ Songs  ” 
prior  to  their  reproduction  in  the  new  process.  It  was  not 
Blake’s  custom  to  make  such  finished  drawings  for  his  books. 
With  scarcely  any  exceptions,  the  existing  drawings  connected 
with  them  are  of  the  nature  of  roughly  executed  sketches  in 
pen  or  pencil.  To  have  carried  them  further  would  have  meant 
a fruitless  doubling  of  the  labour.  The  very  few  exceptions  with 
which  the  writer  is  acquainted  are  of  an  experimental  character 
and  solely  done  with  a view  to  trying  an  effect.  A single 
example  only,  contained  in  a volume  of  miscellaneous  prints 
and  drawings  by  Blake  in  Mr  Macgeorge’s  collection,  is  known 

1 In  his  “ Lives  of  the  most  eminent  British  Painters,  etc.  ” (1830),  vol.  ii.  p.  152. 


The  Engravings  of  JVilliam  Blake 

to  him  of  a drawing  of  this  kind  connected  either  with  the 
“ Songs  of  Innocence  ” or  the  “ Songs  of  Experience.”  The  great 
majority  of  the  coloured  drawings  purporting  to  be  Blake’s 
original  designs  for  his  books  are  copies  do nt  from  the  books  by 
other  hands.  To  this  category  belongs  the  supposed  original 
drawing  in  water-colours  for  the  “Ancient  of  Days  with  the 
Compasses”  (No.  15  in  the  Catalogue)  in  the  Print  Room.  A 
number  of  pretended  drawings  for  the  Prophetical  Books  have 
also  been  seen  by  the  writer.  It  is  also  unlikely  that  Cunning- 
ham is  right  in  suggesting  that  the  “Songs  of  Innocence”  was 
the  first  of  the  books  to  be  engraved  in  the  new  method.  The 
date  (1788)  given  by  Blake  himself  in  the  colophon  to  his 
“Ghost  of  Abel”  as  that  of  his  “original  stereotype”  is  alone 
sufficient  to  negative  this  supposition.  By  a process  of  exhaustion, 
since  the  dates  of  all  the  remaining  works  are  definitely  fixed, 
as  well  as  on  other  grounds  (see  p.  205,  note  1),  the  writer 
inclines  to  the  view  that  the  pair  of  diminutive  volumes  of 
aphorisms  on  the  subject  of  Natural  Religion  are  both  of  them 
prior  to  the  “ Songs  of  Innocence  ” and  to  be  assigned  to  the 
year  (1788)  preceding  their  publication.  The  separate  print, 
already  alluded  to,  done  from  his  brother  Robert’s  design 
(No.  65  in  the  Catalogue),  in  which  a group  of  figures  is 
depicted  standing  together  on  the  edge  of  a cliff  and  gazing  with 
scared  looks  over  the  sea,  would  appear  also  to  belong  to  the 
initial  stage  of  the  process  and  may  perhaps  be  a solitary  survivor 
from  among  Blake’s  earliest  experiments  made  at  the  time  of 
its  discovery  in  1787.  In  his  later  books  and  separate  prints 
Blake’s  method  will  be  found  to  have  undergone  a modification. 
There  the  process  of  relief-etching  is  frequently  used  by  him  in 
conjunction  with  a further  invention  to  which  he  gave  the  name 
of  “ wood-cutting  ” upon  metal.  The  nature  of  this  innovation 
is  described  in  his  own  memoranda  on  the  subject  which  are 
printed  in  the  Appendix  (No.  1),  where  it  will  be  seen  that  it 
consisted  principally  in  the  use  of  a graver  through  a prepared 
ground.  The  “ Little  Tom  the  Sailor”  and  “The  Man  sweeping 
the  Interpreter’s  Parlour  ” (Nos.  18  and  31  in  the  Catalogue) 

32 


The  Engravings  of  William  Blake 

are  examples  of  the  combination  of  the  two  methods.  In  both  of 
these  cases  the  metal  employed  appears  to  have  been  pewter,  of 
which  he  now  and  then  seems  to  have  made  use  as  a substitute 
for  the  more  usual  copper-plate.  It  is  stated  by  Mr  A.  M.  Hinde 
in  his  “Short  History  of  Engraving  and  Etching’'  1 that  plates 
of  zinc,  are  known  also  to  have  been  used  by  Blake  for  his 
relief-etchings.  The  plates  executed  by  this  special  process  were 
printed  either  by  Blake  himself  or  his  wife  in  an  ordinary 
copper-plate  press.  The  process  of  printing  was  necessarily  a 
somewhat  laborious  one,  since,  as  Jackson  points  out  in  his 
“Treatise  on  Wood  Engraving," 2 it  was  difficult  “to  corrode 
the  large  white  parts  to  a depth  sufficient  to  prevent  their  being 
touched  by  the  dauber  or  ball  in  the  process  of  inking,  and  thus 
presenting  a soiled  appearance  in  the  impression.”  “ He  was, 
therefore,”  he  adds,  “ accustomed  to  wipe  the  ink  out  where  it 
had  touched  in  the  hollows.”  The  outline  of  his  designs  was 
normally  printed  by  Blake  in  a single  colour.  Blue,  green, 
yellow,  orange  and  black  are  the  tints  most  commonly  met 
with.  In  some  examples  of  the  two  small  tracts  on  Natural 
Religion,  however,  two  or  more  colours  are  found  to  have  been 
used.  When  the  outline  had  been  printed,  the  design  was  then 
coloured  up  by  hand,  either  with  water-colours  or  by  a peculiar 
method  of  stamping  opaque  colour  from  the  plate  on  to  the 
print.  This  latter  method  he  further  developed  for  a process  in 
which  some  of  his  most  impressive  works  are  executed, — the 
“ Printed  Drawings,”  in  which  first  the  outline  and  then  the 
colours  were  stamped  off  from  a mill-board  on  to  the  drawing 
paper — the  pigment  being  tempered  with  a mixture  of  copal 
varnish  and  glue.  The  most  important  of  these  productions  is 
the  well-known  “ Creation  of  Adam.” 

The  seven  years  (from  1788  to  1795)  which  followed  Blake's 
discovery  of  his  process  of  relief-etching,  were  largely  taken  up 
with  the  production  of  his  engraved  books.  With  the  exception 
of  the  “ Milton  ” and  the  “Jerusalem,”  all  the  more  important  of 

1 Second  edition  (revised),  1911,  p.  220. 

2 Second  edition,  London,  1861. 


c 


33 


The  Engravings  of  W illiam  Blake 

them  date  from  this  period.  To  the  last  of  these  years  belongs 
also  the  invention  of  the  process  in  which  his  Printed  Drawings 
are  executed.  The  greater  number  of  these  works  bear  upon 
them  the  date  1795,  and  there  are,  in  fact,  good  reasons  for 
believing  that  the  whole  of  them  were  first  designed  and  printed 
either  in  that  or  the  preceding  year.  In  spite  of  the  very 
considerable  output  of  works  executed  in  his  special  processes, 
Blake  found  time  as  well  for  some  remarkable  pieces  of  original 
engraving  in  the  ordinary  linear  method.  In  1791  were 
published  the  “ Original  Stories”  of  Mary  Wollstonecraft  with 
the  six  small  copper-plates  of  which  he  was  both  the  designer 
and  engraver  (No.  7.  in  the  Catalogue).  The  frontispiece,  which 
is  reproduced  in  the  present  volume,  is  a singularly  pleasing 
instance  of  his  gift  for  imparting  a simple,  childlike  beauty  to 
a conventional  theme.  His  “Gates  of  Paradise”  (No.  8.  in  the 
Catalogue),  first  issued  in  1793,  is  in  a more  characteristic  vein. 
This  little  picture-book  which  had  been  originally  devised  for 
the  use  of  children  and  filled  with  spiritual  and  moral  emblems 
more  or  less  adapted  to  their  understanding,  was  subsequently 
reissued  for  the  benefit  of  grown-up  people,  with  the  addition 
of  an  Argument,  an  Epilogue  and  other  matter  wherein  an 
abstruse  mystical  significance  is  attributed  to  the  designs.  The 
prints  themselves  are  little  more  than  slight  sketches  upon 
copper,  but  several  of  them,  notably  the  “Death’s  Door”  and 
the  “ Ugolino,”  in  spite  of  their  small  dimensions  and  lack 
of  finish,  none  the  less  exhibit  a truly  Blakeian  intensity 
and  grandeur.  No  example  of  the  “ History  of  England,” 
published  by  Blake  in  the  same  year  as  “ The  Gates  of 
Paradise  ” is  at  present  forthcoming  ; it  is  likely  to  have  been  a 
little  picture-book  of  a somewhat  similar  character  to  the  latter. 
To  the  same  year  belong  also  a pair  of  prints  executed  on  a 
considerably  more  important  scale  ; they  are,  in  fact,  among  the 
largest  and  most  ambitious  of  all  Blake’s  engravings.  Their 
subjects  are  taken  from  the  books  of  Job  and  Ezekiel.  Both 
are  undeniably  powerful  in  conception  and  finely  engraved, 
though  in  a rather  heavy  manner.  It  must,  also,  be  admitted 

34 


The  Engravings  of  TVilliam  Blake 

that  they  lose  much  in  impressiveness  from  being  somewhat  over- 
emphatic  in  statement.  An  exaggerated  tendency  is  apparent 
both  in  the  types  and  the  gestures  of  the  figures,  and  there  is 
generally  a want  of  concentration  in  the  design.  For  these 
reasons,  in  spite  of  the  great  effect  of  seriousness  and  solemnity, 
which  they  undoubtedly  produce,  the  prints  will  be  found  to 
compare  unfavourably  with  the  maturer  expression  of  the  great 
series  of  “ Illustrations  of  the  Book  of  Job.”  The  year  in  which 
these  prints  were  produced  was  the  year  of  his  removal  to 
Hercules  Buildings,  whence,  on  the  ioth  October  following  his 
arrival,  he  issued  his  first  prospectus.  The  list  of  prints  and  books 
to  the  number  of  ten,  which  are  there  advertised  for  sale,  is 
headed  by  the  above  mentioned  “Job.”  Six  of  the  following 
numbers  consist  of  as  many  of  his  engraved  books  as  were 
ready  at  that  date.  His  own  name  of  “ Illuminated  Printing”  for 
the  process  in  which  they  were  carried  out  is  there  also  re- 
corded ; an  announcement  of  it  being  the  principal  theme  of  a 
prefatory  note  “To  the  Public,”  in  which  he  claims  to  have 
“ invented  a method  of  Printing  both  Letter-press  and  Engraving 
in  a style  more  ornamental,  uniform,  and  grand,  than  any  before 
discovered,  while  it  produces  works  at  less  than  one-fourth  of 
the  expense.”  “If,”  he  adds,  “ a method  of  Printing  which 
combines  the  Painter  and  the  Poet  is  a phenomenon  worthy  of 
public  attention,  provided  that  it  exceeds  in  elegance  all  former 
methods,  the  Author  is  sure  of  his  reward.”  Of  the  engravings 
after  other  artists  belonging  to  this  period,  five  are  from  the 
designs  of  Fuseli,  whose  acquaintance  he  seems  to  have  made 
some  ten  years  before  and  who  remained  ever  a constant  friend 
and  an  ardent  admirer.  It  was  largely  under  Blake's  influence 
that  this  able  but  mannered  painter  first  began  to  develop  his 
imaginative  character,  and  that  his  style  underwent  a change  in 
the  direction  of  restraint  and  refinement.  It  cannot,  however,  be 
said  that  their  collaboration  on  these  occasions  was  productive 
of  any  very  striking  results.  Of  work  done  for  publishers  at  this 
time,  the  most  important  item  is  a series  of  a dozen  illustrations 
for  Stockdale’s  edition  of  Gay’s  “ Fables.”  Blake’s  prints  are 

35 


The  Engravings  of  W ill i am  Blake 

certainly  superior  to  the  remainder  of  those  with  which  the 
volume  is  adorned,  but  do  not  show  him  on  a particularly  high 
level  either  of  invention  or  execution. 

Although  the  five  years  which  followed  this  period  of  extra- 
ordinary activity  were  relatively  unfruitful  ones  for  Blake  in  the 
field  of  engraving,  a single  undertaking,  that  of  his  designs  for 
Young’s  “Night  Thoughts,”  must  needs  have  absorbed  a very 
considerable  amount  both  of  his  time  and  energies.  A full 
account  of  his  labours  in  connection  with  this  work  and  of  the 
circumstances  attending  its  production  will  be  found  in  the 
Catalogue  (see  No.  17).  This  great  series  of  inventions  embodies 
many  of  the  most  characteristic  qualities  of  his  imagination  and 
a number  of  the  plates  display  quite  an  astounding  capacity  for 
genuinely  creative  design.  Considered  as  a whole,  however,  the 
volume  is  a disappointing  one.  From  the  beginning  the  task 
was  a well-nigh  impossible  one  for  him  to  succeed  in.  The  end- 
less chain  of  tedious  allegory  and  moral  platitudes  of  which  the 
poem  is  composed  could  only  end  in  obscuring  the  most  un- 
clouded vision.  But  apart  from  the  unprepossessing  nature  of  the 
material  at  his  disposal,  Blake’s  genius  failed  him  in  other 
respects.  The  scale  of  the  designs  is  throughout  too  great  for 
their  substance,  with  the  result  that  the  eye  is  continually 
conscious  of  a certain  emptiness  and  monotony.  In  spite  of  these 
defects,  however,  it  is  certain,  as  it  is  prophesied  by  the  writer 
of  the  Preface  (believed  to  have  been  the  designer’s  friend, 
Fuseli),  that  “while  a taste  for  the  arts  of  the  design  shall 
continue  to  exist,  the  original  conception,  the  bold  and  masterly 
execution,  which  are  there  discovered,  cannot  be  unnoticed  or 
unadmired.”  The  venture,  as  will  appear  from  the  note  in  the 
Catalogue,  was  a failure  from  the  outset,  and  of  the  vast  series 
of  drawings  made  by  Blake  for  the  purpose,  only  a small  pro- 
portion were  actually  engraved  by  him.  His  reputation  as  an 
engraver  seems,  indeed,  to  have  collapsed  in  consequence  of  it. 
“Since  my  Young’s  ‘Night  Thoughts’  have  been  published,” 
he  pathetically  writes  two  years  later,  “even  Johnson  and  Fuseli 
have  discarded  my  engraver.”  The  words  occur  in  one  of  a 

36 


The  Engravings  of  JVilliam  Blake 

very  valuable  little  batch  of  letters  written  between  the  years 
1795  and  1799  to  his  friend  George  Cumberland  and  now  in- 
cluded among  the  Cumberland  correspondence  at  the  British 
Museum.  Cumberland,  who  was  a man  of  fine  taste  and  a keen 
enthusiasm  in  regard  to  matters  of  art,  remained  until  the  last 
one  of  the  truest  and  most  generous  of  Blake’s  friends,  and  was 
the  means  of  introducing  him  to  several  of  his  best  patrons, 
particularly  John  Linnell.  He  learned  from  Blake  the  art  of 
engraving,  and  with  his  help  published,  in  1796,  his  “ Thoughts 
on  Outline/’  embellished  with  twenty-four  designs  of  classical 
subjects  (No.  85  in  the  Catalogue).  The  following  appreciative 
reference  to  Blake’s  share  in  the  work  occurs  in  the  Appendix  to 
the  volume  : — “ One  thing  may  be  asserted  of  this  work, 
which  can  be  said  of  few  others  that  have  passed  the  hands  of 
an  engraver,  which  is,  that  Mr  Blake  has  condescended  to  take 
upon  him  the  laborious  office  of  making  them,  I may  say,  fac- 
similes of  my  originals  : a compliment,  from  a man  of  his 
extraordinary  genius  and  abilities,  the  highest,  I believe,  I shall 
ever  receive  ; — and  I am  indebted  to  his  generous  partiality  for 
the  instruction  which  encouraged  me  to  execute  a great  part  of 
the  plates  myself ; enabling  me  thereby  to  reduce  considerably 
the  price  of  my  book.”  Almost  the  last  piece  of  work  that 
Blake  ever  did  was  a “ Message  Card”  for  his  friend  (No.  36  in 
the  Catalogue),  engraved  by  him  in  1827  at  the  age  of  seventy. 

The  difficulty  experienced  by  Blake  after  the  failure  of 
the  Young’s  “Night  Thoughts”  to  obtain  further  commissions 
from  the  publishers  led  him,  about  that  date,  to  turn  his 
attention  for  the  first  time  seriously  to  the  art  of  painting.  He 
was  the  more  induced  to  this  course  by  the  fact  that  his  friend 
Thomas  Butts,  whose  acquaintance  he  seems  to  have  made  as 
early  as  1793,  had  in  1799  given  him  an  order  for  fifty  small 
pictures  at  one  guinea  each.  “ Engraving,”  he  wrote  in  the 
latter  year  to  Dr  Trusler,  “is  the  profession  I was  apprenticed 
to,  and  should  never  have  attempted  to  live  by  anything  else, 
if  orders  had  not  come  in  for  my  designs  and  paintings,  which 
I have  the  pleasure  to  tell  you  are  increasing  every  day.  Thus  if 

37 


The  Engravings  of  William  Blake 

I am  a painter  it  is  not  to  be  attributed  to  seeking  after.  But  I 
am  contented  whether  I live  by  painting  or  engraving.”  So  it 
was  that  Blake’s  earliest  ambition  to  become  a painter  was  able 
at  last  to  be  realised  and  during  the  next  ten  years  much  of  his 
spare  time  was  devoted  to  producing  a considerable  number  of 
paintings  and  drawings  ; to  these  years  belong,  in  fact,  the  great 
proportion  of  his  labours  in  that  field. 

A striking  portrait  of  Lavater  is  Blake’s  first  work  in  the 
new  century.  It  is  described  by  Mr  W.  M.  Rossetti1  as  “a 
superb  and  masterly  example.”  “ As  an  engraver  merely,”  he 
adds,  “ Blake  ranks  high  on  the  strength  of  this  plate  alone. 
The  lines  of  the  face  are  especially  noteworthy  for  their  skilful 
play,  firmness  and  delicacy.”  In  the  autumn  of  the  same 
year  (1800)  Blake  left  London  to  work  for  Hayley  at  Felpham. 
He  had  been  introduced  by  Flaxman  to  this  new  patron,  and 
had  already,  before  his  departure  to  the  country,  executed  for 
him  three  plates  of  no  great  consequence  for  his  “ Essay  on 
Sculpture,”  in  a “Series  of  Epistles”  written  to  the  sculptor 
himself  (No.  94  in  the  Catalogue).  The  immediate  reason  of  the 
invitation  to  Felpham  was  for  the  purpose  of  assisting  Hayley 
in  the  compilation  of  the  “ Life  of  Cowper”  which  he  had  just 
then  undertaken  and  of  engraving  the  plates  for  the  work.  The 
“Life”  was  published  in  1 803-1 804,  with  three  portraits  and 
several  other  prints  from  Blake’s  hand.  These,  however,  are 
among  the  least  memorable  results  of  his  visit,  a portrait  of  the 
poet  engraved  in  imitation  of  a drawing  by  Lawrence  being  the 
only  one  which  calls  for  remark,  as  being  at  least  a skilful  and 
exact  rendering  of  the  qualities  of  the  original  sketch.  The  task, 
which  had  been  set  him,  proved  an  irksome  one  to  Blake,  and 
the  work  produced  in  this  connection  for  the  most  part  bears 
upon  its  face  the  signs  of  having  been  done  against  the  grain 
and  without  pleasure.  The  prints  engraved  by  him  in  his  hours 
of  relaxation  from  these  labours  are  alone  truly  worthy  of  his 
name.  The  first  of  these,  his  admirable  broadside  of  “ Little 
Tom  the  Sailor”  (No.  18  in  the  Catalogue)  is  dated  within 

1 See  Gilchrist’s  “Life”  (ed.  1880),  vol.  ii.  p.  282. 

38 


The  Engravings  of  William  Blake 

three  weeks  of  his  arrival  in  the  country.  It  is  an  example  of 
his  combined  processes  of  relief-etching  and  “ wood-cutting 
upon  pewter.”  The  printing  of  it,  as  we  learn  from  one  of  his 
letters,  was  for  the  most  part  entrusted  to  his  wife.  “ Little 
Tom,”  he  writes  to  his  patron,  “ has  been  of  late  unattended  to, 
and  my  wife’s  illness  not  being  quite  gone  off,  she  has  not 
printed  any  more  since  you  went  to  London.  But  we  can  muster 
a few  in  colours  and  some  in  black,  which  I hope  will  be  no 
less  favoured,  though  they  are  rough  like  rough  Sailors.”  The 
lower  of  the  two  pictorial  designs  which  accompany  the  ballad, 
written  by  Hayley  for  the  widowed  mother  of  a Folkestone 
sailor  lad  who  had  been  drowned  at  sea,  is  a beautiful  example 
of  Blake’s  quieter  and  often  happier  mood.  The  design  at  the 
top  is  of  a somewhat  theatrical  character  and  has  much  less  merit. 
His  designs  for  a series  of  Hayley ’s  “ Ballads,”  “ founded  on 
Anecdotes  relating  to  Animals”  (No.  19  in  the  Catalogue),  were 
the  next  occupation  of  Blake’s  leisure  hours.  The  following 
account  of  their  origin  and  scope  is  given  by  Hayley  himself  in 
the  Preface  : — “To  amuse  the  Artist  in  his  patient  labour,  and 
to  furnish  his  fancy  with  a few  slight  subjects  for  an  inventive 
pencil,  that  might  afford  some  variety  to  his  incessant  applica- 
tion, without  too  far  interrupting  his  more  serious  business,  I 
chanced  to  compose,  in  hours  of  exercise  and  leisure,  a few 
ballads,  upon  anecdotes  relating  to  animals,  that  happened  to 
interest  my  fancy.  They  succeeded  perfectly  as  an  amusement 
to  my  Friend  ; and  led  him  to  execute  a few  rapid  sketches,  that 
several  judges  of  his  talent  are  desirous  of  converting  to  his 
honour  and  emolument.  The  favour  that  two  or  three  Ballads 
obtained,  in  a private  circle,  induced  us  to  enlarge  the  number  ; 
and  to  try  their  success  in  the  world  as  a periodical  publication. 
It  is  proposed  to  publish  every  month,  a Number,  containing 
three  Engravings,  with  one  Ballad,  at  the  price  of  half-a- 
crown  ; and  to  complete  the  whole  series  in  fifteen  Numbers,  so 
that  the  purchaser  will  ultimately  obtain  a quarto  Volume,  con- 
taining forty-five  Engravings,  not  to  mention  the  Ballads,  which 
indeed  I wish  to  be  considered  as  vehicles  contrived  to  exhibit 


39 


The  Engravings  of  EE i lli am  Blake 

the  diversified  talents  of  my  Friend  for  original  design,  and 
delicate  engraving.”  The  prints  were  begun  by  Blake  in  May 
1802  and  the  first  part  was  issued  on  the  1st  June  following. 
The  project  received  little  encouragement  from  the  public,  and 
after  the  issue  of  four  out  of  the  projected  fifteen  parts,  it  had  to 
be  abandoned.  Although  not  without  characteristic  invention, 
the  plates  are  not  very  notable  specimens  of  Blake’s  talent  as  an 
original  engraver.  Those  of  the  i2mo  edition,  published  three 
years  later,  are  considerably  better  performances  in  the  same 
kind.  The  last  of  Blake’s  prints  which  belong  to  the  period  of 
his  sojourn  at  Felpham,  are  the  six  well-engraved  illustrations 
of  Hayley’s  “Triumphs  of  Temper”  (No.  97  in  the  Catalogue) 
after  the  pretty  but  rather  feeble  inventions  of  Maria  Flaxman, 
sister  to  the  sculptor. 

After  a stay  of  just  three  years  in  the  country,  Blake  returned 
to  London,  in  September  1803,  and  settled  at  17  South  Molton 
Street.  He  had  received  from  Hayley  a parting  commission  to 
collect  materials  for  his  “ Life  of  Romney,”  and  it  appears  from 
his  correspondence  at  this  date  that  a good  deal  of  his  time  was 
absorbed  in  biographical  researches  in  this  connection.  He  had 
at  the  same  time  been  invited  to  engrave  several  of  the  plates 
for  the  “ Life,”  and,  soon  after  his  arrival,  set  to  work  to  engrave 
a portrait  of  the  painter  (No.  99  in  the  Catalogue).  The  print, 
however,  for  some  unknown  reason,  was  in  the  end  rejected  ; in 
fact,  although  it  is  known  to  have  reached  the  proof  state,  no 
impression  of  it  is  at  present  forthcoming.  The  book  ultimately 
appeared  in  1809  with  a single  rather  uninteresting  print  from 
Blake’s  hand,  engraved  from  a sketch  by  Romney  of  a “ Ship- 
wreck.” Blake  arrived  in  London  full  of  sanguine  expectations, 
which  were  destined,  however,  to  be  but  imperfectly  realised. 
Soon  after  his  return  he  wrote  to  Hayley  : — “ I have  got  to 
work  after  Fuseli  for  a little  ‘ Shakespeare.’  Mr  Johnson,  the 
bookseller,  tells  me  that  there  is  no  want  of  work.  So  far  you 
will  be  rejoiced  with  me,  and  your  words,  ‘ Do  not  fear  you 
can  want  employment  ’ ! were  verified  the  morning  after  I 
received  your  kind  letter.”  A couple  of  prints  were  engraved  by 

40 


The  Engravings  of  JVilliam  Blake 

him  after  Fuseli  for  the  “Shakespeare”  in  question,  edited  by 
Alexander  Chalmers  (No.  99  in  the  Catalogue).  They  are  good, 
honest  work,  well  above  the  average  of  their  companions,  but 
neither  of  them  of  extraordinary  merit.  His  next  work  was  the 
engraving  of  three  plates  for  a new  edition  of  Flaxman’s  “ Iliad,” 
published  in  1805.  In  the  same  year  appeared  the  reduced 
edition  of  Hayley’s  “Ballads”  (No.  20  in  the  Catalogue),  with 
five  plates  of  a similar  character  but  far  superior  in  execution 
to  those  of  the  original  4to  ; they  count,  indeed,  high  in  the 
sum  total  of  Blake’s  engraved  work.  It  is  interesting  to  note 
that  they  were  among  the  special  favourites  of  Dante  Gabriel 
Rossetti,  whose  knowledge  and  admiration  of  Blake’s  work 
were  both  of  them  profound.  The  following  entertaining  allusion 
to  them  occurs  in  one  of  his  letters1  to  William  Allingham, 
from  whom  he  had  received  a gift  of  a copy  of  the  “ Ballads”  : 
— “ Many  thanks  indeed  for  your  new  year’s  gift, — a most 
delightful  one.  Old  Blake  is  quite  as  lovable  by  his  oddities  as 
by  his  genius,  and  the  drawings  to  the  ballads  abound  with 
both.  The  two  nearly  faultless  are  the  ‘Eagle’  and  the 
‘ Hermit’s  Dog.’  Ruskin’s  favourite  (who  has  just  been  looking 
at  it)  is  the  ‘Horse’;  but  I can’t  myself  quite  get  over  the 
intensity  of  comic  decorum  in  the  brute’s  face.  He  seems 
absolutely  snuffing  with  propriety.  The  ‘ Lion  ’ seems  singing 
a comic  song  with  a pen  behind  his  ear,  but  the  glimpse  of 
distant  landscape  below  is  lovely.  The  only  drawing  where  the 
comic  element  riots  almost  unrebuked  is  the  one  of  the  dog 
jumping  down  the  crocodile.  As  regards  engraving,  these 
drawings,  with  the  ‘Job,’  present  the  only  good  medium 
between  etching  and  formal  line  that  I ever  met  with.  I see 
that  in  coming  to  me  the  book  returns  home  ; having  set 
out  from  No.  6 Bridge  Street,  Blackfriars,  just  50  years 
ago.  Strange  to  think  of  it  as  then,  new  literature  and 
art.  Those  ballads  of  Hayley — some  of  the  quaintest  human 
bosh  in  the  world — picked  their  way,  no  doubt,  in  highly 

1 Dated  8th  January  1856;  see  the  “Letters  of  Dante  Gabriel  Rossetti  to  William 
Allingham,”  by  George  Birbeck  Hill,  1877. 


4i 


The  Engravings  of  JVilliam  Blake 

respectable  quarters,  where  poor  Blake's  unadorned  hero  at 
Page  i was  probably  often  stared  at,  and  sometimes  torn  out.” 

It  was  about  this  date  that  the  idea  first  presented  itself  to 
Blake  of  producing  an  illustrated  edition  of  Blair's  “ Grave.” 
It  was,  according  to  Gilchrist1  as  early  as  1804  that  he  set  to 
work  upon  a series  of  designs  for  the  poem — with  the  intention 
both  of  engraving  and  publishing  them  himself.  The  earliest 
reference  to  the  undertaking,  however,  known  to  the  present 
writer  occurs  in  a letter  from  Flaxman  to  Hayley,  dated  1 8 th 
October  1805, 2 where  the  unpleasant  figure  of  Cromek  creeps 
for  the  first  time  into  sight.  Finding  Blake  at  work  upon  the 
drawings  and  being  struck  by  their  commercial  attractiveness, 
he  forthwith  invited  him  “ to  make  a set  of  forty  drawings, 
twenty  of  which  he  proposed  to  have  engraved  by  the  designer 
and  to  publish  them,  with  the  hope  of  rendering  service  to  the  artist .” 
The  commission  was  accepted  by  Blake  on  these  terms,  m., 
that  he  should  be  the  engraver  of  his  own  designs,  and  an 
agreement  was  entered  into,  to  this  effect.3  Specimens  of  the 
designs  were  shown  to  various  members  of  the  Royal  Academy, 
who,  continues  Flaxman  in  the  same  letter,  were  “highly 
pleased  ” with  them  and  “ meant  to  encourage  the  work.”  A 
prospectus  was  shortly  issued  ; “ from  which,”  says  Gilchrist,4 
“ it  appears  it  was  then  intended  for  Blake  to  engrave  the 
illustrations.”  The  same  authority  is,  also,  responsible  for  the 
statement,  that  Blake  did  actually  engrave  “one  or  two”  of 
them;  a print  of  “Death’s  Door”  he  claims  to  have  seen. 5 
H owever  this  may  be  (and  no  example  of  any  of  the  series 
engraved  by  the  artist  is  known  to  the  present  writer),  it  is  well 
known  how  in  the  end  only  twelve  designs  were  accepted  by 
Cromek,  for  which  he  paid  the  trivial  sum  of  twenty  guineas, 

1 See  the  “ Life  ” (ed.  1 880),  vol.  i.  p.  246. 

2 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  pp. 
185-186. 

3 This  fact  is  corroborated  by  another  contemporary  authority,  John  Thomas  Smith,  in 
his  biographical  notice  of  Blake  contained  in  the  second  volume  of  “ Nollekens  and  his 
Times  ” (1828)  ; see  “ William  Blake,”  by  Arthur  Symons,  p.  368. 

4 See  the  “ Life,”  vol.  i.  p.  247  ; the  Prospectus  is  not  known  to  the  present  writer. 

But  see  No.  2 1 in  the  Catalogue. 


42 


The  Engravings  of  TVilliam  Blake 

and  at  the  same  time  cheated  Blake  of  the  further  remuneration 
which  he  was  to  have  derived  from  engraving  the  designs,  by 
employing  Schiavonetti  in  his  place  to  do  the  work.1  The 
illustrations  appeared  in  1808,  and  were  well  received:  “a 
success,”  writes  Swinburne,2  “ on  which  the  shameful  soul  of 
Cromek  fed  exultantly  and  fattened  scandalously.”  It  is  certain,  as 
the  same  writer  claims  for  them,  that  the  designs  are  “ among 
the  most  admirable  works  extant  in  that  line.”  Their  “ sweet- 
ness and  vivid  grace  are,”  he  truly  says,  “ as  noticeable  as  the 
energy  and  rapidity  of  imagination  inspired  by  them.”  It  is 
interesting  to  note  the  two  designs  that  are  singled  out  by  this 
great  poet  and  critic  for  special  reference.  “None,”  he  writes,3 
in  a passage  of  haunting  loveliness,  “ none  who  have  seen  can 
well  forget  the  glorious  violence  of  reunion  between  soul  and 
body,  meeting  with  fierce  embraces,  with  glad  agony  and  rage 
of  delight.  . . . But  for  perfect  beauty  nothing  of  Blake’s  can 
be  matched  against  the  design  of  the  soul  departing  ; in  this 
drawing  the  body  lies  filled  as  it  were  and  clothed  with  the 
supreme  sleep  of  flesh,  no  man  watching  by  it  ; . . . and  the  soul, 
with  tender  poise  of  pausing  feet,  with  painless  face  and  sad 
pure  eyes,  looks  back  as  with  a serene  salutation  full  of  pity.” 
“The  sweet  and  grave  grace”  of  the  background,  he  adds, 
“ with  a bright  pallor  in  the  sky  and  an  effect  upon  field  and 
moor  of  open  air  without  wind,  brings  with  it  a sense  of  music.” 
Equal  to  either  of  these,  less  touched  by  sentiment  and  perhaps 
even  grander  in  design  is  the  “ Death’s  Door,”  which  the 
present  writer  would  count  among  the  noblest  of  all  Blake’s 
inventions.  The  designs  are  all  of  them  skilfully  engraved  by 
Schiavonetti  in  a facile,  forceless  style.  Yet  the  keen  light  of 
Blake’s  genius  still  shines  clear  and  bright  through  the  veil  of 
prettiness  thrown  over  it  by  Cromek’s  hireling.  The  loss  in  the 

1 For  further  particulars  of  this  disagreeable  business,  see  Gilchrist’s  “Life,”  vol.  i. 
pp.  246-290;  Swinburne’s  “William  Blake”  (new  edition,  1906),  pp.  52-63;  “The 
Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  pp.  193-197  and  202-203. 

2 In  his  “William  Blake,  a Critical  Essay”  (new  edition,  1906,  p.  62),  which  still 
remains  the  truest  and  noblest  tribute  to  Blake’s  genius  that  has  yet  appeared. 

3 Ibid.  p.  63. 


43 


The  Engravings  of  William  Blake 

engravings  of  the  creative  hand  of  the  artist  makes  it  the  more 
regrettable  that  the  original  drawings  for  them  have  nearly  all 
oi  them  disappeared.  The  few  which  remain,  moveover,  are  of 
themselves  sufficient  to  indicate  that  the  complete  series  must 
have  been  one  of  unsurpassed  loveliness. 

It  was  in  such  time  as  he  could  spare  at  this  period  from 
his  labours  at  the  “ Grave,”  that  Blake  began  to  engrave  his 
two  great  mystical  epics  of  “ Milton  ” and  “Jerusalem”  which  had 
been  composed  by  him  during  his  sojourn  at  Felpham.  A large 
number  oi  drawings,  both  in  water-colour  and  “ fresco,”  in- 
cluding several  oi  those  which  were  to  appear  in  his  exhibition 
of  1809,  were,  also,  produced  by  him  in  these  years.  To  1807 
belongs  the  lithograph  of  “Job  in  Prosperity”  (No.  23  in  the 
Catalogue),  which,  besides  being  a pleasing  and  characteristic 
invention,  is  further  interesting  as  being  a solitary  specimen 
from  his  hand  of  this  method  ol  reproduction.  In  1808  he  seems 
to  have  had  the  intention  of  publishing  a treatise  dealing  with 
the  various  technical  processes  which  had  been  invented  by  him. 
On  the  9th  December  of  that  year,  alluding  to  his  purpose  in  a 
letter  to  his  friend  Cumberland,  he  writes  : — “ I have  . . . the 
satisfaction  to  inform  you  that  I have  . . . begun  to  print  an 
account  of  my  various  inventions  in  Art,  for  which  I have  pro- 
cured a publisher,  and  am  determined  to  pursue  the  plan  of 
publishing  what  I may  get  printed  without  disarranging  my 
time,  which  in  future  must  alone  be  devoted  to  designing 
and  painting.”  He  speaks  once  more  of  this  plan  in  the  pro- 
spectus of  his  “Chaucer,”  issued  15th  May  1809  (No.  4 in  the 
Appendix),  where  he  promises  an  account  ol  his  recovery  of  the 
art  of  fresco-painting  “ in  a work  on  Art,  now  in  the  press.” 
Unhappily,  however,  his  scheme  appears  never  to  have  been 
realised.  His  “Descriptive  Catalogue”  of  1809  may  perhaps  be 
supposed  to  have  taken  its  place  ; and  in  consequence,  with  the 
exception  of  the  brief  memoranda  printed  in  the  Appendix 
(No.  1),  no  account  was  left  by  him  of  his  inventions  in  the 
field  of  engraving.  On  8th  October  1810  was  published  his 
print  of  the  “ Canterbury  Pilgrims,”  of  which  the  original  paint- 


44 


The  Engravings  of  JVilliam  Blake 

ing  formed  the  principal  item  of  his  exhibition  of  the  preceding 
year.  The  picture,  which  is  now  in  the  possession  of  Sir  John 
Stirling  Maxwell,  is  one  of  his  finest  productions.  The  stately 
movement  of  the  cavalcade,  forming  a superbly  decorative 
pattern  coloured  in  rich  and  varied  hues,  together  with  the 
architectural  accessories,  of  Gothic  form,  and  the  long  sweeping 
lines  of  the  landscape  produce  a noble  impression.  The  effect  is 
somewhat  marred  in  the  engraving  by  the  introduction  of  a 
certain  element  of  grotesqueness.  There  is,  too,  in  its  execution 
more  than  a little  of  the  dull,  heavy  manner  which  Blake  had 
learned  from  Basire  and  not  yet  been  able  entirely  to  put 
away  from  his  more  serious  works.  The  peculiar  archaic 
type  of  the  horses,  upon  which  the  pilgrims  ride,  may  in  fact  be 
traced  to  an  engraving  published  by  Basire,  ist  May  1787,  with 
which  Blake  must  have  been  well  acquainted,  if  indeed  he  had  not 
actually  a hand  in  its  production,  representing  the“  Procession  of 
King  Edward  VI.  from  the  Tower  of  London  to  Westminster, 
Feb.  XIX,  MDXLVII  ” (from  an  old  picture  at  Hampton 
Court),  where  the  grouping,  equipment  and  build  of  the 
horses  have  much  in  common  with  those  of  the  “ Canterbury 
Pilgrims.”  Whatever  may  be  its  defects,  however,  the  print  is 
undoubtedly  possessed  of  such  qualities  of  monumental  grandeur 
as  to  do  more  than  atone  for  them  all. 

The  years  which  followed  the  publication  of  his  “ Canter- 
bury Pilgrims,”  down  to  the  time  of  his  first  meeting  with 
Linnell,  were  the  gloomiest  and  most  unproductive  of  Blake’s  life. 
He  seems  to  have  isolated  himself  from  nearly  all  his  friends 
and  to  have  lived  a solitary  life.  His  commissions  became  fewer 
and  fewer,  and  it  is  known  that  he  was  sadly  oppressed  by 
poverty.  A little  print,  etched  in  relief,  of  the  “ Chaining  of 
Ore”  (No.  26  in  the  Catalogue),  dated  1813,  is  the  only  piece 
of  original  engraving  that  can  with  certainty  be  ascribed  to  this 
period.  The  beautiful  “Mirth  and  her  Companions”  (No.  27 
in  the  Catalogue)  may,  however,  have  been  engraved  about  this 
time,  since  it  appears  to  come  midway  in  style  between  the 
works  in  which  the  manner  of  engraving  learned  from  Basire  is 

45 


The  Engravings  of  JVilliam  Blake 

still  predominant,  and  those  which  show  the  result  of  the  par- 
ticular studies  of  the  works  of  Marc  Antonio  and  Giulio  Bonasone 
which  Blake  undertook  at  Linnell’s  instigation.  A series  of  thirty- 
seven  outline  engravings,  done  from  Flaxman’s  designs  illustra- 
tive of  the  “ Works  and  Days  and  Theogony  of  Hesiod  (No.  107 
in  the  Catalogue),  together  with  the  prints  occurring  in  Rees’s 
“ Cyclopaedia  ” (No.  105  in  the  Catalogue),  represent  Blake’s  only 
important  commissions  from  the  publishers  during  these  dark  years. 

It  was  in  1818  that  Blake  first  made  the  acquaintance  of 
John  Linnell,  the  painter,  through  the  introduction  of  his  old 
friend,  George  Cumberland.  The  circumstances  of  their  meeting 
are  described  by  Linnell  himself  in  his  diary.1  “ At  Rathbone 
Place,  1818  . . . here  I first  became  acquainted  with  William 
Blake,  to  whom  I paid  a visit  in  company  with  the  younger 
Mr  Cumberland.  Blake  lived  then  in  South  Molton  Street, 
Oxford  Street,  second  floor.  We  soon  became  intimate,  and  I 
employed  him  to  help  me  with  an  engraving  of  my  portrait  of 
Mr  Upton,  a Baptist  preacher,  which  he  was  glad  to  do,  having 
scarcely  enough  employment  to  live  by  at  the  prices  he  could 
obtain.”  The  advent  of  Linnell  was  truly  the  most  fortunate 
circumstance  in  all  Blake’s  life.  To  the  encouragement  and 
generosity  of  this  admirable  friend  is  almost  wholly  due  the 
great  renewal  of  creative  energy  by  which  his  last  years  were  made 
more  fruitful  in  real  achievement  than  any  that  had  gone  before. 
It  was  some  three  years  however  before  the  extremity  of  his 
need  became  known  to  his  new  friend,  when  he  at  once  came 
forward  with  the  substantial  assistance  by  means  of  which  the 
production  of  the  designs  for  Job  and  Dante  was  rendered 
possible.  In  1821,  upon  the  retirement  of  his  landlord,  Blake 
removed  from  the  rooms  which  he  had  occupied  ever  since  his 
return  to  London  from  Felpham,  in  South  Molton  Street,  and 
settled  at  3 Fountain  Court,  Strand,  where  he  died.  “It  was 
here,”  writes  Linnell, 2 “ that  he  began  to  feel  the  want  of 

1 See  Symons’s  “William  Blake”  (1907)  p.  222. 

2 In  a letter  to  Bernard  Barton,  the  quaker  poet,  written  after  Blake’s  death.  See  “ The 
Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  pp.  227-228. 

46 


The  Engravings  of  William  Blake 

employment,  and  before  I knew  his  distress  he  had  sold  all  his 
collection  of  old  prints  to  Messrs  Colnaghi  & Co.  After  that  I 
represented  his  case  to  Sir  Thomas  Lawrence,  Mr  Collins,  R.A., 
and  some  other  members  of  the  Royal  Academy,  who  kindly 
brought  it  before  the  Council,  and  they  voted  him  a donation 
of  £25,  which  was  sent  to  him  through  my  hands,  and  for 
which  he  expressed  great  thankfulness.  This,  however,  was  not 
enough  to  afford  him  permanent  support,  and  it  was  in 
hopes  of  obtaining  a profit  sufficient  to  supply  his  future  wants 
that  the  publication  of ‘Job’  was  begun  at  my  suggestion  and 
expense.  . . . Though  we  were  both  disappointed  in  our 
expectations  as  to  the  extent  of  sale,  yet  the  few  buyers  of  the 
work  being  among  the  most  distinguished  for  taste  and  learning, 
we  were  sufficiently  encouraged  to  commence  another  work, 
which  Mr  Blake  did  not  live  to  complete  ; it  was  the  illustrat- 
ing of  Dante.  . . . This  work,  however,  answered  the  purpose 
of  furnishing  him  with  the  means  of  comfortable  subsistence  to 
his  death.” 

The  scarcity  of  employment  spoken  of  by  Linnell,  which 
had  indeed  been  continuous  with  Blake  since  the  date  of  the 
appearance  of  his  Blair’s  “ Grave,”  is  again  sadly  illustrated  by 
the  fact  that  from  the  day  of  their  meeting  down  to  the  end  of  his 
life  three  inconsiderable  commissions  were  all  that  came  to  him 
from  the  publishers.  In  the  first  of  these,  the  well-known  portrait 

of  Mrs  Q , published  in  1820  (No.  108  in  the  Catalogue) 

he  once  more  showed  himself  capable  of  an  excellent  piece  of 
work  in  a popular  style.  The  print  is  still  highly  prized  by  a 
number  of  collectors  who  are  quite  unacquainted  with  the 
nobler  achievements  of  his  individual  genius.  The  following 
year  was  that  of  the  issue  of  his  incomparable  woodcuts  in 
illustration  of  Dr  Thornton’s  “ Pastorals  of  Virgil”  (No.  30  in 
the  Catalogue).  It  is  well  known  how  narrowly  these,  the  only 
woodcuts  ever  executed  by  Blake,  escaped  the  contemptuous 
rejection  of  the  publishers.  An  account  of  this  and  the  other 
circumstances  attending  their  production  will  be  found  in  the 
Catalogue.  The  little  prints  are  perhaps  the  loveliest  ©f  all  Blake’s 

47 


The  Engravings  of  William  Blake 

engravings — so  childlike  are  they  in  their  transparency  of 
vision,  and  yet  so  deeply  touched  in  every  stroke  with  the 
grandest  spirit  of  poetry.  They  are  certainly  to  be  counted  too 
among  the  world’s  masterpieces  of  wood-engraving.  Of  the 
three  examples  here  reproduced,  the  chief  place  in  the  whole 
series  of  the  woodcuts  is  given  by  Swinburne,  in  the  admirable 
essay  already  referred  to,1  to  that  entitled  “The  blasted  Tree,” 
appearing  at  the  head  of  the  page.  In  a descriptive  and  critical 
passage,  in  which  the  design  is  there  described  by  the  poet,  the 
rare  quality  of  lyrical  invention,  which  is  its  matchless  beauty, 
is  vividly  conveyed.  “A  splendour,”  he  writes,  “ of  sweet  and 
turbulent  moonlight  falls  across  blown  bowed  hedge-rows,  over 
the  gnarled  and  labouring  branches  of  a tough  tortuous  oak, 
upon  soft  ears  of  laid  corn  like  long  low  waves  without  ripple 
or  roll  ; every  bruised  blade  distinct  and  patient,  every  leaf 
quivering  and  straightened  out  in  the  hard  wind.  The  stormy 
beauty  of  this  design,  the  noble  motion  and  passion  in  all  parts 
of  it,  are  as  noticeable  as  its  tender  sense  of  detail  and  grace  in 
effect  of  light.”  The  original  drawings  for  the  woodcuts, 
outlined  with  extreme  delicacy  and  beauty  with  a hne  brush 
point  in  India  ink,  were  (all  but  one)  purchased  from  Blake  by 
Linnell  and  are  still  in  the  possession  of  the  Linnell  family. 
Slight  and  small  as  they  are,  they  are  yet  among  the  loveliest  of 
all  his  designs.  “ The  Hiding  of  Moses,”  appearing  in  “ Remem- 
ber Me”  (1825  ; No.  32  in  the  Catalogue),  the  last  piece  of 
engraving  done  by  Blake  for  the  publishers,  calls  for  no  special 
remark. 

The  crowning  labour  of  Blake’s  life,  his  engraved  illustra- 
tions of  the  “ Book  of  Job,”  had  its  origin  in  the  last  commission 
which  he  received  from  his  old  friend  and  patron,  Thomas 
Butts,  for  whom,  in  or  about  1820,  the  designs  were  first 
executed  in  a series  of  twenty-five  water-colour  drawings.  In 
1823  he  began,  at  the  instance  of  Linnell,  to  make  a duplicate  set 
of  the  designs  with  a view  to  engraving  them.  The  work  was 
published  in  1826,  the  year  before  his  death.  Full  particulars  of 

1 “ William  Blake,  a Critical  Essay”  (new  ed.,  1906),  pp.  73-74. 

48 


The  Engravings  of  lEilliam  Blake 

the  volume  will  be  found  in  the  Catalogue  (No.  33).  It  is,  taken 
as  a whole,  beyond  question  Blake’s  greatest  achievement  as  an 
engraver.  From  early  days  he  had  been  deeply  moved  by  the 
history  of  the  patriarch,  which  he  would  often  parallel  by  the 
course  of  his  own  life.  The  subjects  of  two  of  his  prints,  the 
impressive  line-engraving  published  in  1793  and  the  beautiful 
lithograph  designed  some  fifteen  years  later,  had  already  been 
drawn  from  it.  But  since  those  days  his  style  as  an  engraver  had 
undergone  a considerable  change.  He  had  by  this  time  entirely 
freed  himself  from  the  hard,  mechanical  manner  which  he  had 
acquired  from  Basire.  Much  had  in  the  meantime  been  learned 
by  him  from  the  great  engravers  whose  works  were  represented 
in  his  own  print  collection.  His  attention,  also,  had  lately  been 
especially  directed  by  Linnell  to  the  works  of  the  Italian 
engravers  of  the  sixteenth  century,  with  particular  regard  to 
Marc  Antonio  and  Giulio  Bonasone.  With  both  of  these  he  had 
of  course  been  previously  well  acquainted.  J.  T.  Smith  recalls 
in  his  memoir  how  often  he  had  “ seen  him  admire  and  heard 
him  expatiate  upon  the  beauties  of  Marc  Antonio,”  and  in 
Blake’s  own  writings  this  master  is  several  times  mentioned 
with  enthusiasm.  Linnell  appears  himself  to  have  been  the 
possessor  of  a number  of  Marc  Antonio’s  prints,  and  he  had  also 
in  his  collection  an  example  of  Bonasone’s  large  print  of 
Michelangelo’s  “ Last  Judgment,”  which  was  doubtless  an 
object  of  Blake’s  frequent  study.  The  influence  of  these  models 
is  the  predominant  one  in  the  development  of  Blake’s  latest 
style  of  engraving,  which,  however,  none  the  less  remains  a 
strictly  individual  means  of  expression  and  shows  no  traces  of 
any  direct  imitation.  In  the  “Job  ” he  further  reveals  a grandeur 
of  invention  and  a concentration  of  expression  beyond  all  his 
past  attainment,  and  truly,  as  Ruskin  claimed  for  him  in  this 
connection,1  “in  expressing  conditions  of  glaring  and  flickering 
light,  Blake  is  ” here  “ greater  than  Rembrandt.” 

Blake’s  last  important  work,  the  series  of  designs  from 
“ Dante,”  is  due,  like  the  “Job,”  to  a commission  received  from 

1 In  his  “ Elements  of  Drawing,”  paragr.  257. 


The  Engravings  of  JVilliam  Blake 

his  friend  Linnell.  His  original  drawings  to  the  number  of  a 
hundred  are  still  in  the  possession  of  the  Linnell  family,  and  are 
one  of  the  most  remarkable  evidences  of  his  extraordinary  genius 
for  the  invention  of  design.  The  undertaking  was  begun  about 
1824  and  remained  unfinished  at  his  death.  In  a letter  to  his 
friend,  written  shortly  before  the  end,  he  speaks  of  himself  as 
being  “ too  much  attached  to  Dante  to  think  much  of  anything 
else.”  The  work  of  engraving  was  begun  in  1826  ; but  he  lived 
only  to  engrave  seven  of  the  designs  (see  No.  34  in  the  Catalogue). 
The  most  beautiful  of  these  is  the  “ Paolo  and  Francesca,  with 
the  Whirlwind  of  Lovers,”  and,  of  the  remainder  perhaps  the 
most  notable  is  the  “ Dante  striking  Bocca  degli  Abbati’s  head 
with  his  foot.”  All,  however,  are  powerfully  designed,  and 
carried  out  with  an  astonishing  freedom  and  vigour.  Among  the 
finest  of  the  unengraved  designs  are  : — “ Dante  and  Virgil  crossing 
towards  the  City  of  Dis,”  “ The  Gorgon-head,  and  the  Angel 
opening  the  Gate  of  Dis,”  “ Antaeus  setting  down  Dante  and 
Virgil  in  the  last  Circle,”  “ Dante  and  Statius  sleeping,  Virgil 
watching,”  “ Beatrice  on  the  Car,  Dante  and  Matilda.”  To  the 
last  year  of  his  life  probably  belongs  a fine  print,  left  unfinished, 
of  “ Christ  with  a Bow,  trampling  upon  Satan”  (No.  35  in  the 
Catalogue).  The  last  piece  of  engraving  ever  completed  by  him 
was  the  “ Message  Card,”  embodying  a pretty  allegory,  which 
he  did  for  his  friend  George  Cumberland  (No.  36  in  the 
Catalogue) . It  is  signed  : — “ W.  Blake  inv.  & sc.  A.  JE.  70,  1 8 27.” 
The  story  of  how,  at  the  end,  upon  his  death-bed,  he  finished 
for  Tatham  an  illuminated  example  of  “The  Ancient  of  Days 
striking  the  first  Circle  of  the  Earth,”  is  too  well  known  to 
need  to  be  repeated. 


50 


CATALOGUE 


I.— PRINTS  ENGRAVED  BY  BLAKE  FROM 
HIS  OWN  DESIGNS 


r 


Pi.ate  2 

JOSEPH  OF  ARIMATIIEA  AMONG  THE  ROCKS  OF  ALBION 
Engraved  by  W.  Blake,  1773,  from  an  old  Italian  Drawing.  (1) 


1 JOSEPH  OF  ARIMATHEA  AMONG  THE  ROCKS  OF  ALBION  1 

Michael  Angelo  Pinxit.  Engraved  by  W.  Blake  1773  from  an  old  Italian 
Drawing.  Line ; 9 x 4f|  in. 

Joseph  is  represented  with  a powerful,  bearded  head  and  a massive 
frame.  He  wears  a soft  conical  cap  and  a loose  garment,  which  falls 
to  a little  below  his  waist.  He  stands,  facing  the  spectator  (r.),  with  his 
arms  folded  and  his  eyes  fixed  upon  the  ground,  upon  a rocky  base 
beneath  a towering  cliff  by  the  sea.  The  dark  water  (1.)  has  a gently 
rippled  surface  which  glimmers  in  a scanty  sunlight,  emerging  from 
behind  a thick  cloud. 

A word  of  explanation  appears  below  the  print: — “This  is  One  of 
the  Gothic  Artists  who  Built  the  Cathedrals  in  what  we  call  the 
Dark  Ages,  Wandering  about  in  sheep  skins  and  goat  skins,  of  whom 
the  World  was  not  worthy.  Such  were  the  Christians  in  all  Ages”; — 
the  allusion,  of  course,  being  to  the  tradition  by  which  Joseph  of 
Arimathea  is  believed  to  have  come  to  Britain  and  to  have  founded 
the  first  Christian  church  there,  at  Glastonbury.2  For  the  place  after- 
wards given  to  Joseph  of  Arimathea  in  Blake’s  system  of  mythology, 
see  “Vala”  viii.  332  (in  Ellis  and  Yeats’s  edition),  where  he  is  identified 
with  Los,  the  spirit  of  Time  and  of  Prophecy. 

The  figure  of  Joseph  is  derived  from  that  on  the  extreme  right,  in 
front,  of  Michelangelo’s  fresco  of  the  Crucifixion  of  St  Peter  in  the 
Vatican  (“  Cappella  Paolina  ”).3  The  “ old  Italian  Drawing,”  used  by 
Blake, — one,  no  doubt,  done  after  the  figure  in  question, — cannot  now 
be  traced.  The  landscape  setting  is  probably  Blake’s  own.  His  print  is 
a remarkable  performance  for  a boy  of  sixteen.  It  is,  also,  interesting 
as  showing  his  early  love  both  of  Gothic  architecture  and  of  the  designs 
of  Michelangelo. 


2 (THE  PENANCE  OF  JANE  SHORE) 

A print  of  this  subject  is  assigned  by  the  late  Dr  Richard  Garnett 4 
to  the  year  1779,  which  is  the  approximate  date  of  a drawing  by  Blake 

1 Title  engraved  on  the  rock  (right-hand  upper  corner).  The  general  conception  of  the  design  being 
probably  Blake’s  own,  and  the  interpretation  of  the  subject  being  certainly  his,  the  print,  in  spite  of 
its  indebtedness  to  Michelangelo,  is  here  included  among  his  original  works. 

2 Cp.  No.  5,  below. 

3 It  was  identified  for  the  writer  by  his  friend,  Mr  Laurence  Binyon. 

4 See  “ William  Blake,”  by  Richard  Garnett  (1895),  p.  9 : — “ Scarcely  was  he  out  of  his  articles  than 
he  produced  (1779)  two  engravings  from  the  history  of  England,  “The  Penance  of  Jane  Shore,”  and 
“King  Edward  and  Queen  Eleanor”  (for  the  latter,  see  No.  11,  below).  These  were  after  two 
water-colour  drawings,  selected  from  a much  greater  number  with  which  he  had  amused  the  leisure 
hours  of  his  apprenticeship.” 


53 


2 of  the  same  title.1  Dr  Garnett  is  the  sole  authority  for  the  existence 
of  the  print.  It  is  absent  from  Blake’s  prospectus  of  10th  October  1793, 
while  the  “Edward  and  Elinor”  associated  with  it  in  Dr  Garnett’s 
statement  and  otherwise  known  to  exist,  is  to  be  found  there.2  “The 
Penance  of  Jane  Shore  ” does  indeed  occur  in  Blake’s  rough  draft  of 
subjects  for  his  little  “History  of  England,”  contained  in  the  “Rossetti 
MS.,” 3 and  a print  of  it  may  well  have  been  included  in  that  missing 
book;  but,  even  so,  its  diminutive  size  and  later  date  would  prevent  us 
from  assuming  it  to  be  that  referred  to  by  Dr  Garnett.  It  is  at  least 
possible  that  Dr  Garnett  was  mistaken,  and  that  no  such  print  exists. 


3 (GLAD  DAY) 

W.  B.  inv.  1780.  Line;  io|x7§  in. 

A naked  youth  of  god-like  form  stands  tip-toe  on  a mountain  top,  with 
outspread  arms  and  with  his  right  foot  raised  from  the  ground  in  forward 
flight.  The  dawn  is  like  a halo  about  his  radiant  features  and  flame- 
like hair;  his  limbs  are  clothed  with  light.  The  darkness  vanishes 
beneath  him ; a worm  crawls  to  its  hiding  and  a moth  takes  wing  before 
his  feet. 

The  design  is  likely  to  have  been  inspired  by  the  lines  in  “Romeo  and 
Juliet  — 4 

“Night’s  candles  are  burnt  out,  and  jocund  day 
Stands  tiptoe  on  the  misty  mountain  tops.” 

The  subject  was  afterwards  associated  by  Blake  with  one  of  the  myths 
of  his  Prophetical  Books,  and  some  later  impressions  of  the  print  have 
these  lines  engraved  below: — 

“ Albion  arose  from  where  he  labour’d  at  the  Mill  with  slaves : 

Giving  himself  for  the  Nations,  he  danc’d  the  dance  of  Eternal  Death.”5 

It  may  be  noted  that  the  youth’s  head  in  this  beautiful  print  is  not  unlike 
Blake’s  own  as  drawn  by  his  wife  in  the  early  days  of  his  artistic  career.6 

1 See  Blake’s  “Descriptive  Catalogue”  (1809),  Number  XVI.  : — “The  Penance  of  Jane  Shore  in 
St  Paul’s  Church. — A Drawing. — This  Drawing  was  done  above  Thirty  Years  ago.  . . .”  The 
present  writer  is  also  acquainted  with  two  slight  sketches  (one  in  water-colour,  the  other  in  pencil), 
both  belonging  to  about  the  same  date,  which  apparently  served  as  studies  for  the  drawing. 

2 See  Gilchrist’s  “ Life”  (ed.  1880),  vol.  ii.  pp.  285-286. 

3 See  No.  9,  below. 

4 Act  111.,  sc.  v.,  11.  9 & 10. 

5 Cp.  a passage  in  a letter  to  Hayley  of  23rd  October  1804  (see  “ The  Letters  of  William  Blake,”  edited 
by  A.  G.  B.  Russell,  1906,  p.  170),  where  Blake  contrasts  the  Light  which  he  enjoyed  in  his  youth  with 
the  years  of  despair  which  followed,  when  he  became  a “ slave  bound  in  a mill  among  beasts 
and  devils.” 

6 Reproduced  as  the  frontispiece  to  vol.  iii,  of  Ellis  and  Yeats’s  “Blake.” 

54 


r 


A 


Plate  3 

■ The  shatter'd  bark  from  adverse  winds 
Rest  in  this  peaceful  haven  finds  , 

And  when  the  storms  of  life  are  past 
Hope  drops  her  anchor  here  at  last. 


sl'IKt  E TO  “AN 


Hope  drops  ner  aueuoj  

, elegy,  set  to  music  by  thos.  comm  INS,  1786. 


(+) 


FRONT I 


3 The  Print  Room  has  an  example  of  “ Glad  Day  ” (bound  up  in  a volume 
of  miscellaneous  designs  by  Blake)  stamped  with  opaque  colour  in  the 
manner  commonly  employed  in  the  Prophetical  Books.  The  pigment, 
which  had  suffered  from  the  oxidisation  of  the  white,  has  recently  been 
restored  by  a chemical  process  to  its  original  freshness  and  brilliancy. 
The  impression  produced  is  a superb  one.  The  dawn  bursts  into  rays  of 
many-coloured  light,  orange,  yellow,  pink  and  blue,  around  the  shining, 
youthful  figure.  The  mountain  top  is  clothed  with  lichens  of  many  hues, 
The  depths  below  are  filled  with  black  clouds.  The  moth  and  the  worm 
are  here  both  obliterated  by  the  superimposed  colour.  The  Art 
Library  of  the  Victoria  and  Albert  Museum  has  a pencil  sketch  for  the 
design  of  “ Glad  Day,”  which  is  probably  to  be  identified  with  the 
one  entitled  “The  Genius  of  Morning,”  sold  at  Southgate  and  Barrett’s 
7 June  1854,  lot  142.1 


4 AN  ELEGY,  SET  TO  MUSIC  BY  THOS.  COMMINS,  ORGANIST 
OF  PENZANCE,  CORNWALL 

London.  Printed  and  sold  by  J.  Fentum,  No.  78,  corner  Salisbury  St. 
Strand. 

The  cover  has  a vignette,  designed  and  engraved  by  Blake,  illustrating 
four  lines  from  the  Elegy  which  are  engraved  below  it : — 

“ The  shatter’d  bark  from  adverse  winds 
Rest  in  this  peaceful  haven  finds 
And  when  the  storms  of  life  are  past 
Hope  drops  her  anchor  here  at  last.” 

W.  Blake  delt.  &:  sculpt.  Publish’d  July  1,  1786  by  J.  Fentum  No.  78 
Corner  of  Salisbury  Street,  Strand.  Line  ; oval,  within  a wreath,  6 § x 5^ 
in.  (approximately). 

A little  boat  (1.)  has  cast  anchor  in  a creek  ; from  it  a youth  steps 
joyfully  forth  to  meet  his  wife  and  child  who  stand,  bathed  in  light,  with 
open  arms  upon  the  shore.  Beyond,  a tree,  and  the  open  sea  in  the 
background,  with  storm  clouds  vanishing  (].). 

The  print,  which  has  become  scarce,  is  a pleasing  example  of  Blake’s 
early  days  as  a designer  and  engraver.  The  figures  of  the  youth  and  his 
young  wife  resemble  those  of  Joseph  and  Benjamin  in  the  water-colour 
“ Joseph  making  himself  known  to  his  Brethren,”  exhibited  at  the 
Academy  of  the  preceding  year  and  now  in  the  Fitzwilliam  Museum, 
Cambridge.  The  Print  Room  has  an  impression  of  the  print  tinted 
by  hand. 

1 See,  also,  Gilchrist’s  “Life”  (ed.  1S80),  vol.  ii.  p.  276,  No.  19. 

55 


5 (JOSEPH  OF  ARIMATHEA  PREACHING  TO  THE  INHABITANTS 
OF  BRITAIN) 

(Without  title,  signature  or  date.  ? c.  1790.)  In  “Illuminated  Printing”; 
3tV  x 4t%  in- 

The  aged  Joseph  stands  beneath  a tree  (r.)  preaching  to  a multitude  of 
people,— mostly  young  men  and  women,  some  of  whom  listen  to  his 
words  with  bowed  heads  and  earnest  looks,  while  others  seem  afflicted 
with  remorse  or  despair.  The  staff,  which  he  holds  in  his  left  hand,  is 
planted  in  the  ground,  and  begins  to  shape  itself  into  the  twisted  stump 
of  a thorn.  With  his  right  hand  he  points  to  a place  beyond  the  audience, 
where  a row  of  vertical  strokes,  indistinctly  drawn,  may  perhaps  be  held 
to  indicate  the  first  outlines  of  the  church,  which  he  is  alleged  to  have 
built  of  twisted  twigs.  In  the  background  is  the  sea,  with  a promontory  (r.). 
A sunset  sky. 

The  subject  is  taken  from  the  legend,  in  which  Joseph  of  Arimathea  1 
is  related  to  have  come  to  Britain  and  to  have  founded  the  first  Christian 
church  there,  at  Glastonbury,  where  his  staff,  planted  in  the  ground,  is 
said  to  have  become  a thorn  flowering  twice  a year. 

An  example  of  the  print,  done  in  colours,  may  be  seen  in  a volume  of 
Blake’s  designs  in  the  Print  Room. 2 Joseph  is  there  robed  in  white,  and 
his  listeners  are  brightly  attired  in  various  colours.  Another  example 
(also  in  colours)  was  shown  at  the  Grolier  Club  exhibition  of  Blake’s 
works  in  1905  (No.  40  in  the  Catalogue).  The  print  resembles  both  in 
style  and  size  the  illustrations  of  “ Songs  of  Innocence  and  Experience,”  and 
is  probably  of  about  the  same  date. 


6 (ADVERTISEMENT  OF  MOORE  & CO.’S  MANUFACTORY 
AND  WAREHOUSE,  OF  CARPETING  AND  HOSIERY, 
CHISWELL  STREET,  MOOR-FIELDS) 

Blake  d.  & sc.  (?  c.  1790).  Line;  io|x9f  in* 

The  design  forms  a frame  round  the  text  of  the  advertisement,  and  has 
the  following  couplet  engraved  beneath  it : — 


“ Haec  tibi  Londini  tellus  dat  munera  : victa  est 
Pectine  Britannico  jam  Babylonis  acus. 

Vid  Mart.  Lib.  14.  Ep.  150.” 


1 Cp.  No.  1,  above. 

2 The  watermark  of  the  paper  in  this  volume  has  the  date  1794. 

56 


r 


i 


i4f  u’Jiat  a ' /vnc  morw/iy  it  <v  er/.j , 

/ir >,/,t  ^ , tfruiria/t.arc  r?//  eryoyjng  etc/ttJcncc 
Puiltshui  by  *7T Jo/i/wan .S cpt-^if1 no1 


Plate  4 

l-RON'l  ISIMKCK  TO  WOLLSTONKCR  A MS 
“ORIGINAL  STORIES.  1791.  (7  i) 


6 In  the  lower  part  of  the  design  is  depicted  the  interior  of  a mill  with 
[a)  Common  Carpet  Loom  (/>)  Persia  and  Turkey  Carpet  Loom  (c)  Stocking 
Frame  (the  names  engraved  below  each) ; above  the  mill  are  two  little 
boys,  one  of  them  rolling  up  a carpet,  also  a little  girl  spinning.  At  each 
side,  there  is  a column  wrapped  round  with  a carpet;  and  above,  the 
Royal  Arms,  with  the  crest  and  Prince  of  Wales’s  feathers  on  either 
side ; sunlight  and  clouds,  behind. 

The  Print  Room  has  an  example  of  the  Advertisement,  printed  on 
Whatman  paper. 


7 ORIGINAL  STORIES  FROM  REAL  LIFE;  WITH  CONVERSA- 
TIONS, CALCULATED  TO  REGULATE  THE  AFFECTIONS, 
AND  FORM  THE  MIND  TO  TRUTH  AND  GOODNESS.  BY 
MARY  WOLLSTONECRAFT 

London:  Printed  for  J.  Johnson,  No.  7 2,  St  Paul’s  Church-Yard.  1791. 
(i2mo.) 

Contains  six  plates,  all  designed  and  engraved  in  line  by  Blake.  The 
frontispiece  only,  of  the  first  edition,  is  signed;  in  the  second  (1796) 
edition,  all  the  plates  but  one  (No.  v.)  are  signed,  as  follows: — 
i.  (Frontisp.)  “Blake,  inv.  & sc.”  ii.  “Blake,  inv.  & sculp.”  iii.  “Blake, 
i.  & s.”  iv,  “ Blake  in.  & sc.”  vi.  “ Blake  inv.  sc.”  The  plates  exist  in  three 
normal  states:  one  of  these  being  prior  to  the  first  edition,  the  second 
and  third  appearing  respectively  in  the  first  and  second  editions ; these 
states  differ  from  one  another  in  little  more  than  the  degree  of  finish. 
The  accompanying  illustration  (PI.  IV.)  is  taken  from  an  example  in 
the  earliest  state. 

i “Look  what  a fine  morning  it  is — Insects,  Birds,  & Animals,  are 
all  enjoying  existence.”  (Frontispiece) 

Blake  d.  & sc.  Published  by  J.  Johnson,  Septr.  1st.  1791.  4^x2^  in. 

Mrs  Mason  and  her  two  charges,  Mary  and  Caroline,  are  leaving  the 
door  for  their  morning  walk ; she  walks  between  them  with  her  hands 
held  out  on  either  side  over  their  heads,  while  they  look  up  in  admiration 
at  the  beautiful  morning. 

ii  “ The  Dog  strove  to  attract  his  attention. — He  said,  Thou 

WILT  NOT  LEAVE  ME  ! ” P.  24 

Published  by  J.  Johnson,  Septr.  i,  1791.  \\  x 2§  in. 

Illustrates  the  tale  of  a distraught  father,  standing  over  the  deathbed  of 

57 


7 his  two  children  in  a prison  cell,  while  his  dog  strives  to  attract  his 
ii  attention  by  licking  his  hand. 

iii  “ Indeed  we  are  very  happy  !— ” P.  74 
Same  imprint  as  No.  ii.  4I  x 2§  in. 

Mrs  Mason  and  the  two  children  sit  (1.)  before  a cottage  fire  listening  to 
a sailor’s  sad  tale ; her  eyes  are  downcast,  and  the  two  children  bury 
their  faces  in  her  lap.  The  sailor,  with  two  of  his  children  nestling  up  to 
him,  sits  facing  them  (r.). 

iv  “ Be  calm,  my  child,  remember  that  you  must  do  all  the  good 

YOU  CAN  THE  PRESENT  DAY.”  P.  94 

Same  imprint  as  No.  ii.  4!  x 24^  in. 

Mrs  Mason  and  the  two  children  walk  under  some  trees  in  sight  of  a 
ruined  house.  Mary  trembles  at  the  story  of  its  owner,  and  is  gently 
reproved  by  Mrs  Mason,  who,  with  her  right  arm,  clasps  her  to  herself. 

v ‘‘Trying  to  trace  the  sound,  I discovered  a little  hut,  rudely 
BUILT.”  P.  I 14 

Same  imprint  as  No.  ii.  4^  x 2^  in. 

Mrs  Mason  stands  (r.)  listening  to  the  music  of  a Welsh  harper  who  sits 
in  his  hut  (1.).  There  is  a background  of  Gothic  ruins,  with  mountains 
beyond.  A starlit  sky. 

vi  “ Oeconomy  & Self-denial  are  necessary,  in  every  station,  to 
enable  us  to  be  generous.”  P.  173 

Same  imprint  as  No.  ii.  4^  x in. 

Mrs  Mason  and  the  two  children,  holding  her  hand,  follow  a miserable 
woman  into  a low  garret,  and  find  there  a man  sitting  bowed  in  despair 
over  the  cinders  in  the  grate,  with  his  two  half-naked  children  crouching 
near  him  upon  the  ground. 

Gilchrist  writes  of  this  little  series  of  prints  as  follows  1 : — “ In  this 
year  (1791)  Johnson  employed  Blake  to  design  and  engrave  six  plates 
to  a series  of  “ Tales  for  Children,”  in  the  then  prevailing  Berquin 
school,  by  Johnson’s  favourite  and  protegee,  Mary  Wollstonecraft.  . . . 
The  designs,  naive  and  rude,  can  hardly  be  pronounced  a successful 
competition  with  Stothard,  though  traces  of  a higher  feeling  are  visible 
in  the  graceful  female  forms — benevolent  heroine,  or  despairing,  famish- 
ing peasant  group.  The  artist  evidently  moves  in  constraint,  and  the 
accessories  of  these  domestic  scenes  are  as  simply  generalised  as  a 
child’s  : result  of  an  inobservant  eye  for  such  things.  . . . More  designs 

1 Gilchrist’s  “ Life”  (ed.  1880),  vol.  i.  pp.  89-91. 

58 


7 appear  to  have  been  made  for  the  little  work  than  were  found  available, 
vi  and  some  of  the  best  were  among  the  rejected.  It  may  interest  the 
reader  to  have  a sample  of  him  in  this  comparatively  humble  department. 
Possessing  most  of  the  original  drawings,  we  therefore  give  a print 
from  one.1  There  is,  however,  a terrible  extremity  of  voiceless  despair 
in  the  upturned  face  of  the  principal  figure  which,  perhaps,  no  hand  but 
that  of  him  who  conceived  it  could  accurately  reproduce.” 


8 FOR  CHILDREN,  THE  GATES  OF  PARADISE 

Published  by  W.  Blake,  No.  13  Hercules  Buildings,  Lambeth  and 
J.  Johnson,  St  Paul’s  Church  Yard.  1793.  (c.  s\x  a\  in*) 

Existing  examples  of  this  small  picture-book  fall  into  four  groups,  as 
follows : — 

1 The  original  issue,  addressed  to  and  doubtlessly  intended  for  children, 
containing  frontispiece  (see  No.  i.  below),  title  (as  above,  see  No.  ii. 
below)  and  sixteen  plates  (numbered  1-16:  see  Nos.  iv.-xix.  below). 
The  example  in  the  Print  Room  belongs  to  this  issue.  The  Beckford 
example  of  the  same,  sold  at  the  Hamilton  Palace  sale,  in  1882,  has, 
according  to  Mr  Sampson,2  “ the  engravings  in  their  earliest  state, 
before  the  date  and  imprint  on  title  and  publisher’s  imprint  on  plates 
were  added.”  Mr  W.  A.  White  (of  Brooklyn,  U.S.A.)  has  an  example 
of  the  ordinary  published  state,  obtained  by  him  from  the  Rowfant 
library  and  originally  belonging  to  Frederick  Tatham,  in  which  the 
title  “For  the  Sexes”  and  the  two  leaves  of  “The  Keys”  (see  below) 
have  been  inserted  from  another  copy. 

2 In  the  second  issue,  the  original  title  (No.  ii.  below)  is  suppressed  and 
in  that  which  takes  its  place  (No.  iii.  below),  the  attention  of  grown  men 
and  women  is  invited  to  the  designs,  the  meaning  of  which  is  made 
further  accessible  to  them  by  the  presentation  of  “The  Keys  of  the 
Gates,”  in  two  leaves  of  rhymed  argument  (see  Nos.  xx.  and  xxi. 
below),  with  numbers  attached  referring  to  the  numbers  of  the 
plates.  The  “ Keys  ” are  generally  set  at  the  end  of  the  book.  The 
plates  are  reworked  and  carried  to  a higher  degree  of  finish ; several 
of  them  are  modified  in  detail : — e.g.  the  eyes  of  the  figure  in  the 
design  entitled  “Fire”  (see  No.  viii.  below)  are  blinded,  in  accordance 
with  the  explanatory  text ; and  the  legends  beneath  the  designs  are  in 

1 On  p.  90. — A woman  wringing  her  hands  in  grief,  with  two  children  clinging  to  her. 

2 See  his  “ Blake’s  Poetical  Works,”  1905,  p.  366.  Mr  B.  B.  Macgeorge  is  the  present  owner  of  the 
Beckford  copy. 


59 


8 some  cases  amplified.  A new  leaf,  with  a design  accompanying  the 
lines  “To  the  Accuser”  (see  No.  xxii.  below)  is  also  added,  following 
“ The  Keys,”  at  the  end  of  the  book.  This  issue  seems  to  have 
followed  the  first  after  a lapse  of  some  ten  or  a dozen  years.  The 
matter  of  the  Argument  is  much  in  the  vein  of  the  “ Milton  ” and 
“ Jerusalem,”  with  which,  also,  its  symbolism  is  in  close  correspondence. 
The  plan  of  these  latter  books  was  conceived  by  Blake  during  his 
sojourn  at  Felpham  (from  1800  to  1803)  and  the  work  of  engraving 
them  was  begun  in  the  year  after  his  return  to  London  (1804);  the 
present  reissue  of  “The  Gates  of  Paradise”  may  probably,  therefore, 
be  assigned  to  about  the  same  period.  An  example  of  this  issue,  cited  by 
Mr  Sampson,1  was  then  (1905)  in  the  possession  of  Mr  John  Linnell 
junior,  who  had  it  from  his  father,  Blake’s  friend  and  patron. 

3 The  third  issue  belongs  again  to  some  years  later.  The  plates  are 
further  retouched  and  finished, — they  are  in  fact  brought  into  line 
with  Blake’s  latest  manner  of  engraving.  The  text  both  of  the  Prologue 
(upon  the  title  page)  and  of  “The  Keys”  has  undergone  revision. 
An  example  in  Mr  White’s  collection  (from  the  library  of  Thomas 
Boddington,  sold  in  November  1895)  ^as  a watermark  with  the  date 
1825. 

4 In  the  last  issue,  the  plates,  otherwise  the  same  as  in  No.  3,  are  to 
some  slight  extent  still  further  retouched.  Mr  White  has  an  example 
in  this  state. 

The  prints  are  all  engraved  in  line. 

i What  is  Man  ! (Frontispiece) 

Publish’d  by  W.  Blake,  17  May  1793.  3 x 2T3F  in. 

The  design  consists  of  a sprig  of  oak  with  two  leaves,  with  a caterpillar 
crawling  upon  the  edge  of  one  of  them,  and  a chrysalis  with  the  head 
of  a sleeping  infant  lying  in  the  hollow  of  the  other. 

The  lines: — 

“ The  Suns  Light  when  he  unfolds  it 
Depends  on  the  Organ  that  beholds  it.” 

are  added  in  the  second  and  subsequent  issues,  between  the  original 
title  and  imprint. 

0793) 

ii  For  Children.  The  Gates  of  Paradise,  1793.  (Title) 

Published  by  W.  Blake,  No.  13  Hercules  Buildings,  Lambeth,  and 
J.  johnson,  St  Paul’s  Church  Yard.  Measurement  of  the  plate, 

2,4  x 1 1 in. 

1 See  his  “ Blake’s  Poetical  Works,”  1905,  p.  368. 

60 


Plate  5 

PLATES  I.  8.  I,  AND  16  FROM  “THE  GATES  OF  PARADISE,"  1793 
(8,  iv,  xi,  xv  and  xix) 


8 Below  the  word  “Children”  is  the  diminutive  figure  of  an  angel  or 

ii  faery. 

This  title  was  suppressed  in  the  second  and  subsequent  issues  in  favour 
of  that  which  follows. 

iii  For  the  Sexes.  The  Gates  of  Paradise.  (Title) 

2f  x 1 1 in. 

The  title  is  decorated  with  diminutive  angels  or  faeries ; two  of  them, 
above,  bending  over  the  sun. 

This  title,  as  already  stated,  takes  the  place  of  the  preceding  one  in 
the  second  and  subsequent  issues.  It  is  inscribed  with  a kind  of 
prologue,  for  the  text  of  which  (“Mutual  Forgiveness.  . . . Altars 
high?”)  the  reader  may  be  referred  to  Mr  Sampson’s  edition  of  the 
poems,1  where  some  parallel  passages  from  Blake’s  other  writings  will 
also  be  found  in  the  notes.  The  Prologue  appears  in  the  third  and 
fourth  issues  in  a slightly  different  form.2 

iv  I found  him  beneath  a Tree.  (Numbered  “ i ”) 

Publish’d  1 7 May  1793,  by  W.  Blake.  2^x  2^  in. 

A woman,  under  a weeping-willow,  with  a baby  in  her  left  arm,  uproots 
a mandrake,  in  the  form  of  a baby,  by  its  hair. 

v Water.  (Numbered  “ 2 ”) 

Publish’d  by  W.  Blake,  17  May  1793.  2Tix2|  in. 

A naked  man  sits  upon  a rock  beneath  a leafless  tree  in  a deluge  of 
rain,  and  gazes  despondently  into  the  waters  of  the  flood  which  arises 
around  him. 

The  words,  “Thou  Waterest  him  with  Tears,”  3 are  added  below  the 
print  in  the  second  and  subsequent  issues,  where  also  the  design  itself 
will  be  found  to  be  a good  deal  worked  upon  and  to  some  extent 
modified,  e.g.  in  the  roots  of  the  tree. 

vi  Earth.  (Numbered  “ 3 ”) 

Publish’d  by  W.  Blake,  17  May  1793.  2§x2i  in. 

A naked  man,  with  an  agonised  expression,  struggles  out  of  a cave, 
the  rocky  walls  of  which  press  close  upon  him  on  every  side. 

The  words,  “He  struggles  into  Life”  are  added  below  in  the  second 
and  subsequent  issues. 

1 “Blake’s  Poetical  Works,”  190J,  pp.  372-373. 

2 See  ibid. 

3 Cp.  Isaiah  xvi.  9,  “ I will  water  thee  with  my  tears.” 

6l 


8 Air.  (Numbered  “4”) 

Publish’d  1 7 May  1793  by  W.  Blake,  Lambeth.  2|X2|  in. 

A naked  man  sits  upon  clouds,  with  his  hands  folded  over  his  forehead, 
deep  in  thought  and  gazing  before  him  with  a despairing  look. 
A starry  sky. 

The  words,  “ On  Cloudy  Doubts  &r  Reasoning  Cares,”  are  added  below 
in  the  second  and  subsequent  issues,  where,  also,  the  design  itself  will 
be  found  to  be  a good  deal  worked  upon  and  slightly  modified. 

viii  Fire.  (Numbered  “5”) 

Pubd.  by  W.  Blake,  17  May  1793.  3jx2|  in. 

A naked  figure,  resembling  Blake’s  Satan,  armed  with  shield  and  spear, 
stands  amid  flames,  gazing  defiantly  upwards. 

The  words,  “That  end  in  endless  Strife,”  are  added  below  in  the 
second  and  subsequent  issues,  where,  also,  the  design  itself,  besides 
being  a good  deal  worked  upon,  will  be  found  to  have  undergone  some 
modification  in  detail : — e.g.  the  eyes  of  the  figure,  as  has  been  already 
stated,  are  blinded  and  a scaly  appearance  is  given  to  the  lower  part  of 
the  body  as  well  as  to  a portion  of  the  surrounding  flames. 

ix  At  length  for  hatching  ripe 

he  breaks  the  shell.  (Numbered  “ 6 ”) 

Publish’d  by  W.  Blake,  17  May  1793.  2 x if  in. 

A winged  infant  is  hatched  from  an  egg.  Background  of  clouds  and  sky. 

x Alas!  (Numbered  “ 7 ”) 

Publish’d,  17  May  1793,  by  W.  Blake,  Lambeth.  2|-x  i|  in. 

A boy,  in  a garden,  chases  a flying  faery  with  his  hat.  Another  faery, 
knocked  down  already,  lies  prone  at  his  feet. 

The  words: — 

“ What  are  these?  . . . the  Female  Martyr, 

Is  She  also  the  Divine  Image?  ” 

are  added  below  in  the  second  and  subsequent  issues. 

xi  My  Son  ! My  Son  ! (Numbered  “ 8 ”) 

Publish’d  by  W.  Blake,  17  May  1793,  Lambeth.  32^  x 2^  in. 

An  old  man  of  gloomy  aspect  sits  beneath  a tree  (r.).  His  head  is  propped 
upon  his  left  arm ; and  in  his  right  hand  he  has  a sword.  In  front  of  him 

62 


8 (1.)  a naked  youth,  brimming  over  with  life  and  joy,  brandishes  an  arrow 

xi  in  his  left  hand,  and  turns  an  exultant  glance  upon  the  old  man  whose 
face  is  averted  from  him.  There  is  a mountainous  background. 

xii  I want!  I want!  (Numbered  “9”) 

Pubd.  by  W.  Blake,  17  May  1793.  2T5_x  if. 

A youth  attempts  to  scale  a ladder  whose  top  rests  in  the  hollow  of 
the  crescent  moon.  A man  and  a woman  stand,  watching  him,  close  by. 
It  is  a starry  night. 

xiii  Help!  Help!  (Numbered  “ 10”) 

Publish’d  by  W.  Blake,  17  May  1793.  2f  x ii£  in. 

A man,  drowning  in  a stormy  sea,  lifts  up  one  of  his  arms  out  of 
the  water  and  cries  out  for  help.  The  sky  is  dark  with  clouds. 

xiv  Aged  Ignorance.  (Numbered  “ 1 1 ”) 

Publish’d  1 7 May  1793  by  W.  Blake,  Lambeth.  2|x2-f  in. 

A spectacled  old  man,  with  long  white  hair  and  beard,  sits  under  a tree 
(1.)  and,  with  a pair  of  scissors,  clips  the  wings  of  a young  Love.  The  sun 
sinks  (r.). 

xv  Does  thy  God,  O Priest,  take  such  vengeance  as  this? 
(Numbered  “12”) 

Publish’d  17  May  1793  by  W.  Blake,  Lambeth.  2-^x2^  in. 

The  subject  of  the  design  is  Count  Ugolino  in  the  Tower  of  Famine.1 
Ugolino  sits,  naked,  upon  the  ground  at  the  back  of  the  dungeon. 
His  hair  stands  up,  and  there  is  a wild  stare  in  his  eyes.  His  two  grand- 
sons are  crouched  by  him  and  press  close  to  him  on  either  side. 
His  two  sons  sit,  in  mute  despair,  propped  against  the  bare  walls  (r.  & 1.) 
in  front. 

The  figures  are  a good  deal  worked  upon,  and  a greater  variety  of  light 
and  shade  is  introduced  into  the  background,  in  the  second  and  subse- 
quent issues. 

Mrs  Graham  Smith  has  a varnished  water-colour  on  panel  of  the  same 
subject  by  Blake, — similar  to  the  above  in  treatment,  only  with  the 
addition  of  tw?o  sorrowing  angels,  with  many-coloured  wings,  who  hover 
above  Ugolino’s  head ; this  design  is  probably  the  one  alluded  to  in 
a letter  to  Linnell  of  25  April  1827. 2 There  is  a pencil  sketch  of 
Ugolino  in  the  Victoria  and  Albert  Museum,  and  a drawing  in  india  ink 
is  also  known  to  the  writer. 

1 See  Dante’s  “ Inferno,”  c.  xxxiii. 

2 See  “ The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  p.  225  : — “ ...  As  to  Ugolino,  etc., 
I never  supposed  that  I should  sell  them.  ...” 

63 


8 Fear  & Hope  are — Vision.  (Numbered  “ 13”) 

XVI 

Without  imprint.  2-|  x 2f-  in. 

A young  woman  sits  up  upon  a bed  of  sickness  (1.).  Her  husband  sits  by 
her  side  in  front,  and  her  two  children  are  on  the  other  side  of  the  bed. 
The  eyes  of  all  are  turned  to  the  apparition  of  an  aged  man  who 
descends  to  the  foot  of  the  bed,  pointing  upwards  with  a finger  of  his 
left  hand. 

The  print  will  be  found  to  be  a good  deal  worked  upon  in  the  second 
and  subsequent  issues.  A halo  appears  around  the  old  man’s  head,  and 
his  body  is  surrounded  with  supernatural  light;  the  faces  of  the  children, 
too,  are  touched  up  and  rendered  less  summary  in  execution. 

xvii  The  Traveller  hasteth  in  the  Evening  (Numbered  “ 14”) 

Publish’d  17  May  1793  by  W.  Blake,  Lambeth.  2iV x if  in. 

A man,  with  a staff  in  his  hand,  walks  hastily  over  a meadow  at  the  edge 
of  a forest.  His  form  is  lit  up  with  the  rays  of  the  setting  sun,  and  he 
casts  a long  shadow  behind  him. 

xviii  Death’s  Door.  (Numbered  “ 15”) 

Publish’d  17  May  1793  by  W.  Blake,  Lambeth.  2\ x if  in. 

A bent  old  man,  leaning  on  a crutch,  enters  the  doorway  of  the  tomb. 
His  hair  is  blown  forward,  and  he  seems  hurried  thither  by  the  storms  of 
the  world  without. 

A similar  design  occurs  on  p.  1 2 of  Blake’s  “ America,”  also  in  the  lower 
part  of  PI.  1 1 of  Blair’s  “ Grave”  (see  No.  42,  xi.,  below). 

xix  1 HAVE  SAID  TO  THE  WORM,  ThOU  ART  MY  MOTHER  & MY  SISTER. 

(Numbered  “ 1 6 ”) 

Publish’d  by  W.  Blake,  17  May  1793.  2f  x 7f  in. 

A woman,  clad  in  white  grave  clothes  and  with  a wand  held  upright  in 
her  right  hand,  sits  in  a tomb  beneath  the  ground.  A worm  crawls  about 
her  feet.  The  heads  of  two  buried  bodies  appear  above  the  mould  (r.). 
The  roots  of  trees  descend  into  the  earth,  behind. 

Mr  Stopford  Brooke  has  an  early  water-colour  drawing  by  Blake  of  a 
figure  closely  resembling  that  of  the  woman  here  depicted.  Her  robe  is 
there  of  a livid  blue  colour,  and  she  has  a green  mantle  passed  over  her 
head ; she  sits,  gazing  to  the  front,  upon  a gravestone,  against  a dark 
bluish-grey  background  (?  a night  sky) ; the  worm  is  absent. 

64 


8 

xx,xxi 


xxii 


The  Keys  of  the  Gates 

Inscribed  on  two  plates,  measuring  respectively  4^  x 2tV  in.  & 4^  x in. 

The  two  leaves  containing  “ The  Keys  of  the  Gates,”  as  has  been  already 
stated,  appear  only  in  the  second  and  subsequent  issues  of  “The  Gates 
of  Paradise  ” ; they  are  decorated  here  and  there  with  diminutive  faeries. 
For  the  text  of  “The  Keys  ” the  reader  may  be  referred  to  Mr  Sampson’s 
edition  of  the  “ Poems,”  pp.  373-376,  where  the  following  misreading  may 
be  noted  : — 1.  1 3,  for — “ Two  Horrid  Reasoning  ” read — “ Two(-)Horn’d 
Reasoning.” 

To  The  Accuser  who  is  The  God  of  This  World 

A single  leaf,  engraved  on  one  side  only,  appended  by  way  of  Epilogue 
to  the  second  and  subsequent  issues,  containing  a poem  of  the  above 
title  (for  the  text  of  which,  see  Mr  Sampson’s  edition  of  the  “ Poems,” 
p.  377),  illustrated  with  a small  design. 

A long  winding  serpent  divides  the  title  from  the  poem.  The  subject  of 
the  design  engraved  beneath  the  poem  is  as  follows : — Satan  takes  flight 
on  vast,  indented  wings  upon  which  the  sun,  moon  and  stars  are  depicted, 
from  the  naked,  sleeping  form  of  a weary  traveller,  who  reposes  upon 
the  ground  with  his  staff  by  his  side;  the  sun  rises  behind  mountains  in 
the  distance. 

“The  Gates  of  Paradise”  appears  as  the  last  item  in  the  list  of  books 
and  prints  advertised  for  sale  in  Blake’s  prospectus  of  10  Oct.  1793  1 : — 
“No.  10.  The  Gates  of  Paradise,  a small  book  of  engravings.  Price  3s.” 
The  original  pencil  sketches  for  all  the  designs  are  to  be  found  in  the 
“Rossetti  MS.”  2 Some  idea  of  the  average  measurements  of  the  little 
book  may  be  had  from  those  of  two  fine  examples : — one  formerly 
belonging  to  Mr  John  Linnell,  junior,3  measuring  6|x4§  in.;  another, 
that  from  the  Rowfant  library  mentioned  above,  measuring  5^  x 4 in. 

In  Mr  W.  M.  Rossetti’s  list  of  Blake’s  works  included  in  Gilchrist’s  “ Life  ” 
is  the  following  entry  4 : — “ For  Children : The  Gates  of  Hell,”  with  a 
note,  “ A slight  sketch  so  inscribed,  forming  a frontispiece.  It  is  dark 
midnight,  with  a figure  entering  a door.”  This  design  (which  is 
uncoloured),  may  well  be  for  the  title-page  of  a similar  little  book  of 
prints  which  it  had  been  Blake’s  intention  to  issue  as  a companion  to  the 
above. 

1 See  Gilchrists  “Life”  (ed.  1880),  vol.  ii.  p.  286. 

2 A facsimile  page  from  the  “ Rossetti  MS.”  given  in  Mr  Sampson’s  “Blake’s  Poetical  Works  ” (1905), 
Plate  II.,  shows  the  original  sketch  lor  Plate  11.  (No.  xiv.,  above). 

3 See  Mr  Sampson’s  “ Blake’s  Poetical  Works ”( 1905),  p.  368. 

4Ed.  1880,  vol.  ii.  p.  269,  No.  135.  The  drawing  is  now  in  Mr  Graham  Robertson’s  collection. 

E 65 


9 THE  HISTORY  OF  ENGLAND 

(?  *793) 

Among  “the  several  Works  now  published  and  on  Sale  at  Mr  Blake’s, 
No.  13,  Hercules  Buildings,  Lambeth,”  advertised  in  the  prospectus 
of  10th  October  1793,1  there  occurs  the  following  item: — “(No.) 
9.  The  History  of  England,  a small  book  of  Engravings.  Price  3s.” 
No  example  of  this  little  book  is  at  present  known  to  exist.  It  is 
probably  a similar  volume  to  the  “Gates  of  Paradise”  (No.  8,  above), 
which  follows  it  in  the  prospectus,  with  the  same  description  and  price. 
It  is  suggested  by  Mr  Sampson,2  and  it  is  likely  to  be  the  case,  that 
“the  rough  draft  of  subjects  for  a history  of  England  written  on  the 
outer  page  of  Blake’s  Manuscript-  and  Sketch-book  supplies  a clue  to  the 
contents  of  this  missing  work.”  The  entry,  as  given  by  Mr  Sampson,3 
reads  as  follows: — “ 1.  Giants  ancient  inhabitants  of  England.  2.  The 
Landing  of  Brutus.  3.  Corineus  throws  Gogmagog  the  Giant  into  the 
sea.  4.  King  Lear.  5.  ( del ) The  Ancient  Britons  according  to  Ctesar. 
The  frontispiece  {del).  6.  The  Druids.  7.  The  Landing  of  Julius  Csesar. 
8.  Boadicea  inspiring  the  Britons  against  the  Romans.  The  Britons’ 
distress  & depopulation.  Women  fleeing  from  War.  Women  in  a Siege 
{these  three  unnumbered  subjects  are  a marginal  addition ).  9.  Alfred  in  the 
countryman’s  house.  10.  Edwin  and  Morcar  stirring  up  the  Londoners  to 
resist  W.  the  Conqr.  11.  W.  the  Conq.  crown’d.  12.  King  John  and 
Mag  Charta.  A Famine  occasioned  by  the  Popish  interdict  {a  marginal 
addition).  13.  Edward  at  Calais.  14.  Edward  the  Black  Prince  brings  his 
Captives  to  his  father.  15.  The  Penance  of  Jane  Shore.  17.  The 
Reformation  of  H.  VIII.  18.  Ch.  I.  beheaded  {subjects  17,  18  are  a 
marginal  addition , subsequently  deleted).  19  (16,  17  del).  The  Plague.  20. 
(17,  18  del).  The  fire  of  London.  16  (18  del).  The  Cruelties  used  by 
Kings  & Priests.  21.  (19  del).  A prospect  of  Liberty.  22.  (20  del).  A 
Cloud.”  Drawings  by  Blake  of  the  subjects  numbered  2,  4,  7,  9,  12,  13, 
14,  15  and  19  are  known  to  the  writer;  it  is  impossible,  however,  to 
say  whether  any  of  them  are  connected  with  the  picture-book  in 
question. 


10  THE  ACCUSERS  OF  THEFT,  ADULTERY,  MURDER 
{a)  Our  End  is  Come 

Publish’d  June  5,  1793  by  W.  Blake,  Lambeth.  Line;  7tVx3|  in. 

1 See  Gilchrist’s  “ Life”  (ed.  1880),  vol.  ii.  p 286. 

2 See  his  “ Blake’s  Poetical  Works  ” (1905),  p.  367. 

3 Ibid.  pp.  367-378. 


66 


10  When  the  senses  are  shaken 

(i b ) And  the  soul  is  driven  to  madness.  Page  56 

(Same  imprint.) 

(c)  A Scene  in  the  Last  Judgment.  Satans’  (j/V)  holy  Trinity.  The 
Accuser,  The  Judge  & The  Executioner 

W.  Blake  inv.  & sculp.  (Imprint  deleted).  7|X3J£  in. 

Three  ferocious  male  figures  stand  together,  surrounded  by  flames,  in 
front  of  an  open  doorway.  The  central  figure,  wearing  a crown,  has 
terrible  glaring  eyes  and  presses  both  his  hands  to  his  head ; the  figure 
on  the  r.  holds  up  a drawn  sword : and  that  on  the  1.,  clad  in  a shirt  of 
scaly  armour,  carries  a spear. 

There  exist  of  this  print  (commonly  known  as  “ The  Three  Accusers  ”) 
three  well-defined  states  or  issues,  lettered  respectively  as  ( a ),  ( b ) and 
(r)  above.  The  quotation,  with  the  reference  “Page  56,”  which  is 
attached  by  way  of  title  to  the  second  state,  is  from  the  “ Prologue, 
intended  for  a Dramatic  Piece  of  King  Edward  the  Fourth,”  occurring  on 
p.  56  of  Blake’s  “ Poetical  Sketches  ” ( 1783).  In  the  third  issue,  in  addition 
to  the  new  title  (“Satans’  Holy  Trinity,  etc.”)  below,  the. words,  “The 
Accusers  of  Theft,  Adultery,  Murder,”  are  added  upon  the  background 
of  the  print,  over  the  heads  of  the  figures.  Besides  this,  the  engraved 
surface  is  a good  deal  reworked  and  in  the  process,  slightly  enlarged, 
and  some  trifling  changes  appear  in  the  design, — e.g.  a laurel  wreath  is 
placed  upon  the  head  of  the  figure  to  r.  An  impression  of  the  first  issue 
(printed  in  green)  appears  as  the  frontispiece  of  an  early  example  of 
“ The  Marriage  of  Heaven  and  Hell  ” in  the  Bodleian  Library.  One  of 
the  second  was  shown  at  the  1891  exhibition  of  works  by  Blake  at  the 
Boston  Museum  of  Fine  Arts  (No.  1 1 1 in  the  catalogue,  lent  by 
Mr  E.  W.  Hooper).  A certain  number  of  coloured  impressions  were 
issued  by  Blake,  in  his  special  process  of  “Illuminated  Printing.”  There 
is  an  example  of  this  kind  (somewhat  crudely  coloured)  in  the  Print 
Room,  on  paper  with  the  watermark  1794.  The  three  figures  stand  out 
against  a dark  background,  beneath  a crimson  and  orange  cloud.  The 
central  figure  has  yellow  hair  and  beard,  and  wears  black  armour  covered 
by  a bright  red  cloak  bordered  with  yellow.  The  figure  on  the  r.,  also 
with  yellow  hair,  wears  a blue  garment;  the  third  has  dark  hair  and 
beard,  and  wears  a yellow  garment.  There  is  a grassy  foreground. 
Another  example  in  colours  (numbered  “ 3 ” in  ink)  was  exhibited  in 
1905  at  the  Grolier  Club,  New  York  (No.  39  in  the  catalogue).  The 
heads  of  the  Three  Accusers  appear  engraved  as  a tail-piece  on  p.  304 
of  Gilchrist’s  “ Life,”  vol.  i. 


67 


11  EDWARD  & ELENOR 


William  Blake.  Published  1 8th  Au(gust,  ? 1793,  1)3  Hercules  Buildings, 
Lambeth.1  Line;  i2^x  i8|  in. 

King  Edward  and  Queen  Eleanor  sit  together  beneath  a canopy  in 
the  centre  of  the  design.  Eleanor  sucks  the  poison  from  the  wound.  An 
aged  physician  behind  her  holds  up  the  arrow  which  has  been  extracted 
from  it.  On  the  r.  is  a group  of  the  Queen’s  attendants  and  on  the  1.  a 
company  of  warriors,  in  front  of  whom  stands  the  Black  Prince  (as  a 
little  boy). 

The  print  is  among  those  announced  by  Blake  in  the  prospectus  issued 
from  Hercules  Buildings,  10th  October  1793,  where  it  is  described  as 
“A  Historical  Engraving,  size  1 ft.  6\  in.  by  1 ft.  price  10s.  6d.” 
Gilchrist  rightly  speaks  of  it  as  “a  meritorious  but  heavy  piece  of 
business,  in  the  old  fashioned  plodding  style  of  line-engraving,  wherein 
the  hand  monotonously  hatched  line  after  line,  now  struck  off  by 
machine.”  A drawing  of  “Edward  and  Eleanor”  (presumably  for  the 
engraving),  assigned  to  c.  1779,  is  included  in  the  list  of  Blake’s  works 
at  the  end  of  the  “Life  ” (ed.  1880,  vol.  ii.  p.  20 7,  No.  2). 


12  JOB.  “WHAT  IS  MAN  THAT  THOU  SHOULDEST  TRY  HIM 
EVERY  MOMENT.”  Job  vii.  c.  17  & 18  v. 

Painted  and  Engraved  by  William  Blake.  (1793).  Line;  13I x 195  in. 

The  patriarch  Job,  who  is  an  ancient  figure  with  wrinkled  brow  and  long 
hoary  hair  and  beard,  clothed  in  a dark  robe,  is  seated  upon  a mat  of 
rushes  upon  the  ground  (r.).  Tears  fall  from  his  eyes  and  the  gesture  of 
his  hands  betrays  unspeakable  grief.  His  wife  sits  in  front  of  him  in  the 
middle  of  the  composition,  with  her  hands  clasped  before  her  knees  and 
her  hair  streaming  behind,  gazing  at  him  with  a look  of  wild  sorrow'  in 
her  face.  The  three  friends  are  crouched  together  upon  the  ground  to  1. 
The  massive,  rugged  trunks  of  some  trees  make  a background  to  the 
scene.  A zigzag  flash  of  lightning  furrows  the  dark  sky  in  the  midst. 
The  print  is  among  those  announced  in  Blake’s  prospectus  of  the  10th 
October  1793  (“Job,  a Historical  Engraving.  Size  1 ft.  7!  in.  by  1 ft. 
2 in. : price  1 2s.  ” ).  The  companion  print  of  “Ezekiel  ” does  not  appear  in 
the  prospectus;  it  wras  issued  on  the  17th  October  of  the  same  year 

1 The  only  example  of  the  print  to  which  the  author  has  had  access  is  an  imperfect  one  in  the  Linnell 
collection,  which  has  been  cut  in  two  and  forms  two  pages  of  the  MS.  of  “ Vala  ” ; the  central  portion 
of  the  print  is  missing,  and  the  part  of  the  imprint  which  is  here  given  in  brackets  is  conjecturally 
inserted.  It  may  possibly  belong  to  an  earlier  date.  See  pp.  25-26. 

68 


JOB.  “WHAT  IS  MAN  THAT  THOU  SHOUI.DEST  TRY  HIM  EVERY  MOMENT. 


<1 


t 


nil 


12 


and  must  be  slightly  the  later  of  the  two  in  date.  The  highly  finished 
sepia  drawings  from  which  the  “ Job  ” and  “ Ezekiel  ” were  engraved  are  in 
Mr  Graham  Robertson’s  possession  and  are  reproduced  in  his  reissue  of 
the  first  edition  of  Gilchrist’s  “Life.”  A rough  sketch  for  the  “Job” 
(india  ink,  pen  and  wash,  1 2^x17!  in.)  is  or  was  in  Mr  Woolner’s 
collection. 


13  EZEKIEL.  “I  TAKE  AWAY  FROM  THEE  THE  DESIRE  OF 
THINE  EYES.”  Ezekiel  xxiv.  (16) 

Painted  & Engraved  by  W.  Blake.  Publish’d,  October  17,  1793,  by 
W.  Blake,  No.  13,  Hercules  Buildings,  Lambeth.  Line;  i3|x  i8f  in. 
Ezekiel’s  dead  wife,  wrapped  in  white  linen,  is  laid  out  upon  a bed  (r,). 
Her  pallid  face  is  encircled  by  a supernatural  light.  Two  pairs  of  angels, 
designed  upon  an  arch  beyond,  seem  almost  to  hover  over  her  head. 
Ezekiel  himself,  an  ancient  bearded  figure,  kneels  to  1.  in  front,  facing 
the  spectator;  his  arms  are  folded  and  his  tearless  face  wears  a look  of 
sorrowful  resignation.  A woman,  bowed  in  mourning,  with  her  hair 
streaming  to  her  feet,  sits  upon  the  ground  before  the  bed.  On  the  other 
side  of  the  bed  are  two  other  bowed  mourners,  and  there  is  a bowed 
figure  behind  Ezekiel  to  1. 

An  india  ink  drawing  of  this  subject  was  lent  by  Mr  Henry  Adams  to 
the  exhibition  of  Blake’s  works  held  at  the  Boston  Museum  of  Fine  Arts 
in  1891.  (See  also  Gilchrist’s  “Life,”  ed.  1880,  vol.  ii.,  p.  255,  No.  5 
and  p.  265,  No.  98  ; Binyon’s  List  of  Drawings  by  Blake,  in  the  Print 
Room,  No.  13;  and  the  preceding  No.  of  the  present  Catalogue.) 

14  (A  DREAM  OF  THIRALATHA) 

(Without  title,  signature  or  date.  ? 1793.)  In  “ Illuminated  Printing”; 
4fx6ji  in. 

A single  leaf  with  an  allegorical  design  engraved  below  the  six  following 
lines  of  verse : — 

“ As  when  a dream  of  Thiralatha  flies  the  midnight  hour : 

In  vain  the  dreamer  grasps  the  joyful  images,  they  fly 
Seen  in  obscured  traces  in  the  Vale  of  Leutha,  So 
The  British  Colonies  beneath  the  woful  Princes  fade. 

And  so  the  Princes  fade  from  earth,  scarce  seen  by  souls  of  men, 

But  tho’  obscur’d,  this  is  the  form  of  the  Angelic  land,” 

The  subject  of  the  design  is  derived  from  the  text.  A semi-nude  woman, 
bowed  with  grief,  with  her  face  buried  between  her  knees,  sits  upon  the 

69 


14  ground  (r.)  beneath  the  overbending  stump  of  a tree.  A little  beyond, 
to  1.,  a nude  woman  stands  and  reaches  out  her  hands  to  grasp  “the 
joyful  image”  of  her  dream,  in  the  form  of  an  infant  who  flies  headlong 
into  her  arms  and  kisses  her  lips. 

The  piece  is  evidently  a cancel  leaf  from  one  of  the  Prophetical  Books, 
probably  the  “ America,”  with  which  at  least  the  formation  of  the  writing, 
as  well  as  the  character  and  subject-matter  of  the  verse,  most  nearly 
correspond  ; the  design  itself  has  also  a certain  similarity  to  that  on  p.  14  of 
the  same  work,  and  exactly  corresponds  with  it  in  width.  Two  examples, 
only,  of  the  print  are  known  to  the  present  writer.  One  of  these  occurs 
in  a volume  of  Blake’s  designs  in  the  Print  Room ; the  second  was  sold 
by  auction  in  Messrs  Hodgson’s  rooms,  on  14th  January  1904(101  No.  223, 
bought  by  Mr  Quaritch  for  £42).  Both  of  these  examples  are  coloured  : 
the  latter,  with  great  delicacy  and  beauty.  In  each  case,  the  whole 
surface  of  the  print,  including  the  writing,  is  completely  covered  with 
opaque  colour:  so  that  the  engraved  outline  of  the  design  is  lost  and  the 
text  is  rendered  illegible.  The  writer  was  able,  however,  in  the  latter 
instance,  where  the  type  had  been  more  deeply  impressed  into  the  paper, 
to  decipher  it,  with  the  aid  of  a mirror,  from  behind.  The  lines  were  first 
printed  from  the  writer’s  transcript,  in  the  catalogue  of  the  sale  in 
question,  but  are  here  published,  he  believes,  for  the  first  time.  The  Print 
Room  example  is  printed  on  Whatman  paper  with  the  watermark  1794. 


15  (THE  ANCIENT  OF  DAYS  STRIKING  THE  FIRST  CIRCLE  OF 
THE  EARTH) 

(Without  title,  signature  or  date.  1794).  Relief  etching;  9|x6TV  in. 

The  subject  is  taken  from  “Paradise  Lost,”  Bk.  VII.,  11.  225-231  1 : — 

“ He  took  the  golden  Compasses,  prepar’d 
In  God’s  Eternal  store,  to  circumscribe 
This  Universe,  and  all  created  things: 

One  foot  he  center’d,  and  the  other  turn’d 
Round  through  the  vast  profunditie  obscure, 

And  said,  thus  farr  extend,  thus  farr  thy  bounds, 

This  be  thy  just  Circumference,  O World.” 


The  Almighty  appears  within  a ball  of  fire  (apparently  intended  for  the 
sun),  upon  the  rim  of  which  he  kneels;  bending  down,  he  reaches  out 
his  left  hand,  with  a pair  of  shining  compasses,  into  the  darkness  below, 
and  there  describes  the  world’s  circumference.  His  whole  being  is  visibly 

1 Cp.,  also,  Proverbs  viii.  27: — “When  he  prepared  the  heavens,  I was  there:  when  he  set  a compass 
upon  the  face  of  the  depth.” 


70 


15  moved  with  creative  passion.  His  white  hair  and  beard  stream  to  one 
side,  as  if  driven  by  a mighty  gale.  Rays  of  light  shoot  out  from  behind 
the  fiery  disc,  and  volumes  of  thick  smoke  roll  on  every  side  around  it. 
The  print  was  originally  designed  by  Blake  for  the  frontispiece  of  his 
“Europe”  (1794),  but  was  often  issued  by  him  separately.  It  is  usually 
to  be  found  in  a coloured  state,  either  tinted  with  water-colour,  or  stamped 
with  colour  by  Blake’s  special  process.1  Upon  one  of  them,  it  will  be  re- 
membered, he  was  at  work  upon  his  death-bed.2  This  actual  impression,  done 
for  his  friend  Tatham,  is  now  in  the  Whitworth  Institute  at  Manchester.3 
The  design  is  there  printed  in  yellow  and  illuminated  with  great  beauty 
by  hand ; the  colours  are  red,  yellow  and  deep  blue  above,  deep  blue 
and  black  below ; some  gold  is  also  used,  and  the  signature  (“Blake  inv.”) 
is  written  in  golden  letters.  Blake  himself,  it  is  related  by  Tatham,  con- 
sidered this  example  the  best  he  had  ever  finished.4  Coloured  impressions 
will  be  found  to  differ  very  considerably  from  one  another ; as,  in 
addition  to  the  variety  of  tints  employed,  the  original  design  itself  is 
often  modified  in  detail  ( e.g . in  respect  of  the  pattern  of  the  figure,  the 
forms  of  the  clouds,  etc.,  etc.),  in  the  process  of  colouring.  The  Print 
Room  has  a water-colour  drawing,6  professing  to  be  Blake’s  original 
study  for  “The  Ancient  of  Days”;  it  is,  however,  only  a feeble  copy 
done  by  some  other  hand,  from  a coloured  example  of  the  print. 


16  (SUBJECT  RESEMBLING  THE  ECSTASY  OF  ST  MARY 
MAGDALENE) 

(Without  title,  signature  or  date.  ? 1794.)  Relief  etching;  2|x  2^  in. 

A nude  figure  of  a woman  is  lifted  through  the  air  by  six  infant  angels. 
Her  hands  are  folded  and  her  face  (seen  in  profile,  turned  towards  r.) 
wears  a rapt  expression.  A nimbus  surrounds  her  head. 

The  subject  of  this  extremely  rare  print  is  hard  to  define.  The  composi- 
tion is  that  usually  associated  with  representations  of  the  “ Ecstasy  of 
St  Mary  Magdalene,”  and  is  probably  derived  from  an  old  print  or  drawing. 
Except,  however,  for  the  general  character  of  the  group,  Blake’s  design 
has  little  or  no  resemblance  to  any  of  the  better-known  versions  of  the 
subject.  He  may  well  have  been  acquainted  with  Differ’ s beautiful  wood- 
cut.  He  had,  we  know,  a great  love  for  Differ,  and  collected  his  prints 
and  often  went  to  them  for  inspiration.  This  is  at  least  the  most  likely 
source  of  the  subject.  In  any  case,  Blake  borrowed  little  more  than  the 

1 See  p.  33. 

2 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  pp.  34  & 35. 

3 Presented  by  the  late  J.  E.  Taylor. 

4 See  p.  35  of  “The  Letters.”  A reproduction  of  it  faces  p.  34  of  the  same  volume. 

6 Reproduced  facing  p.  38  of  Dr  Garnett’s  “William  Blake.” 

71 


16  motive  of  the  saint  in  ecstasy  being  lifted  by  six  angels  through  the  air. 
The  landscape  setting  of  the  woodcut,  as  well  as  the  figure  of  the  hermit 
who  witnesses  the  miracle,  are  both  absent  from  his  design,  and  his 
treatment  of  the  group  above  is  quite  different.  It  is  perhaps  doubtful 
whether  Blake  would  have  been  aware  of  the  actual  nature  of  the 
legendary  scene  depicted.  We  may,  at  all  events,  be  sure  that  he  did  no 
more  than  make  use  of  it  here  by  way  of  symbol  or  allegory  to  illustrate 
one  of  his  own  mystical  principles.  A similar  group  occurs  in  several  of 
his  designs  for  the  44  Last  Judgment,”  and  in  one  of  his  letters,  containing  a 
full  analysis  of  an  elaborate  water-colour  drawing  of  this  subject  now  at 
Petworth,  it  is  explained  as  follows : — 44  Before  the  throne  of  Christ  on 
the  right  hand,  the  just,  in  humiliation  and  exultation,  rise  through  the 
air  with  their  children  and  families.  . . . Among  them  is  a figure  crowned 
with  stars,  and  the  moon  beneath  her  feet,  with  six  infants  around  her, 
she  represents  the  Christian  Church.”  This  interpretation  is,  however, 
scarcely  applicable  in  the  present  instance.  The  design,  as  will  be  seen 
below,  appears  originally  to  have  been  intended  to  accompany  the  44  Songs 
of  Experience  ” ; although  the  fact  of  its  being  found  in  a single  one 
only  of  the  exisiting  copies  of  the  44  Songs  ” is  sufficient  to  show  that  it 
was  almost  at  once  rejected.  The  poem,  entitled  44  To  Tirzah,”  which 
replaces  it  in  every  other  known  copy,  may  possibly  give  a clue  to  the 
meaning.  Tirzah  was  in  Blake’s  mythology  the  representative  of  Natural 
Religion,  a form  of  doctrine  for  which  he  had  a peculiar  aversion,  and  it 
is  against  such  tenets  that  the  song  is  directed.  Its  theme  is  the  re- 
generation of  the  soul  from  its  natural  existence. 

“ Whate’er  is  Born  of  Mortal  Birth 
Must  be  consumed  with  the  Earth 
To  rise  from  Generation  free.” 


On  the  robe  of  one  of  the  figures  at  the  foot  of  the  page  upon  which 
the  Song  is  printed,  is  the  inscription: — 44  It  is  Raised  a Spiritual  Body,” 
and  it  seems  not  unlikely  that  it  is  this  resurrection  of  the  spiritual 
body  that  is  here  indicated.  A similar  instance  of  a plate  designed  for 
but  rejected  from  the  “Songs  of  Experience”  is  that  inscribed  with  the 
song  entitled  “A  Divine  Image,”  which  is  included  only  in  an  example 
the  “Songs”  known  to  have  been  printed  after  Blake’s  death.  The 
plate  is  etched  in  relief  in  the  manner  of  the  Prophetical  Books.  It  is 
roughly  executed.  Only  a single  example  of  the  print  was  until  lately 
forthcoming, — in  the  collection  of  the  Rev.  Stopford  A.  Brooke;  the 
impression  is  in  the  reddish-brown  tint  often  used  by  Blake  for  the 
Prophetical  Books,  and  is  on  white  paper  (unwatermarked)  measuring 
6 r?r  x 3t#  in.  Another  has  since  turned  up  in  a copy  of 44  Songs  of  Innocence 

72 


16  and  Experience”  recently  advertised  in  one  of  Mr  Tregaskis’s  catalogues 
(Caxton  Head  Catalogue.  No.  669.  April  26,  1909.  Item  No.  76);  the 
following  extract  is  taken  from  the  catalogue : — “ Blake.  Songs  of 
Innocence  and  Experience.  1789  & 1794* ; all  the  54  pages  of  text  and 
illustrations  engraved  by  Blake,  printed  in  tint,  and  afterwards  hand- 
coloured  by  him,  contemporary  binding  of  citron  morocco.  . . . The 
present  is  a fine  copy  of  the  genuine  original  issue,  on  Whatman  paper 
without  a date.  Instead  of  the  poem  ‘To  Tirzah’  on  the  last  page  of 
‘Songs  of  Experience’  there  is  an  engraving  in  colours  representing  a 
nude  figure  borne  aloft  by  winged  cherubs.  This  is  a design  of  excep- 
tional beauty,  typical  of  Blake’s  best  work,  and  apparently  unknown  in  any 
other  copy  of  this  book.  It  was  replaced  by  the  spiritual  poem  mentioned 
above.” 


17  THE  COMPLAINT  AND  THE  CONSOLATION;  OR,  NIGHT 
THOUGHTS,  BY  EDWARD  YOUNG,  LL.D, 

London:  printed  by  R.  Noble,  for  R.  Edwards,  No.  142,  Bond-Street, 
MDCCXCVII.  (Folio). 

Contains  43  marginal  illustrations  engraved  in  line  by  Blake  from  his 
own  designs.  The  descriptions  given  below  are  taken  from  a leaf 
containing  an  “ Explanation  of  the  Engravings,”  appended  to  the 
volume.  The  passages  of  the  poem  to  which  the  pictures  refer  are  in 
most  cases  indicated  by  an  asterisk  placed  against  them  in  the  text.  The 
measurement  of  the  plates  is  16  x 12^  in.,  approximately. 

i Night  the  First,  on  Life,  Death  and  Immortality.  (Frontispiece) 
Pubd.  June  27th  1796  by  R.  Edwards,  N°.  142  New  Bond  Street. 

“Death,  in  the  character  of  an  old  man,  having  swept  away  with 
one  hand  part  of  the  family  seen  in  this  print,  is  presenting  with  the 
other  their  spirits  to  immortality.” 

ii  Night  the  First.  “Swift  on  his  downy  pinion.  . . .”  (P.)  1. 

(Same  imprint  as  above.) 

“ Sleep  forsaking  the  couch  of  care,  sheds  his  influence,  by  the  touch  of 
his  magic  wand,  on  the  shepherd’s  flock.” 

iii  “What,  though  my  soul  fantastick  measures  trod.  . . .”  (P.)  4 
(Same  imprint.) 

“ The  imagery  of  dreaming  variously  delineated  according  to  the  poet’s 
description  in  the  passage  referred  to  by  the 

73 


17  “Till  at  Death’s  toll.  . . (P.)  7 

IV 

W.B.  inv  & sc.  Pubd.  June  27,  1796,  by  R.  Edwards  N°.  142  New 
Bond  Street. 

“ Death,  tolling  a bell,  summons  a person  from  sleep  to  his  kingdom  the 
grave.” 

v “Death!  great  proprietor  of  all  ! . . .”  (P.)  8 

W.B.  inv  & sc.  Pubd.  June  27.  1796,  by  R.  Edwards,  142  New  Bond 
Street. 

“The  universal  empire  of  Death  characterised  by  his  plucking  the  sun 
from  his  sphere.” 

vi  “Disease  invades  the  chastest  temperance,  . . .”  (P.)  10 
(Same  imprint  as  i.) 

“An  evil  genius  holding  two  phials,  from  one  pours  disease  into 
the  ear  of  a shepherd,  and  from  the  other  scatters  a blight  among 
his  flock;  intimating  that  no  condition  is  exempt  from  affliction.” 

vii  “Its  favours  here  are  trials,  . . .”  (P.)  12 
W.  B.  inv.  (No  imprint.) 

“The  frailty  of  the  blessings  of  this  life  demonstrated,  by  a representa- 
tion in  which  the  happiness  of  a little  family  is  suddenly  destroyed  by 
the  accident  of  the  husband’s  death  from  the  bite  of  a serpent.” 

viii  “The  present  moment  terminates  our  sight;  . . .”  (P.)  13 
(Same  imprint  as  i.) 

“ The  insecurity  of  life  exemplified  by  the  figure  of  Death  menacing 
with  his  dart,  and  doubtful  which  he  shall  strike ; the  mother,  or  the 
infant  at  her  breast.” 

ix  “The  longest  night  . . .”  (P.)  15 
W.  B.  inv.  and  sc.  (Same  imprint  as  iv.) 

“ The  author  encircled  by  thorns,  emblematical  of  grief,  lamenting 
the  loss  of  his  friend  to  the  midnight  hours.” 

x “Oft  bursts  my  song  beyond  the  bounds  of  life;  . . .”  (P.)  16 
W.  B.  inv.  & sc.  London.  Pubd.  June  21,  1796,  by  R.  Edwards,  142  New 
Bond  Street. 

“ The  struggling  of  the  soul  for  immortality,  is  represented  by  a figure 
holding  a lyre  and  springing  into  the  air,  but  confined  by  a chain  to  the 
earth.” 


74 


Plate  8 

“DEATH!  GREAT  PROPRIETOR  OF  ALL! 
Young’s  “ Night  Thoughts,"  179/.  (17  v) 


17  Night  the  Second.  On  Time,  Death  and  Friendship.  (P.)  17 

xi  (Frontispiece.)  (Same  imprint  as  i.) 

“Time  endeavouring  to  avert  the  arrow  of  Death  from  two  friends.” 

xii  Night  the  Second.  (P.)  19.  “(With  clarion  shrill,)  Emblem  of  that 
which  shall  awake  the  dead,  . . 

W.  B.  inv.  & sc.  (No  imprint.) 

“ A skeleton  discovering  the  first  symptoms  of  re-animation  on  the 
sounding  of  the  archangel’s  trump.” 

A slightly  modified  version  of  the  same  design  appears  on  the  title-page 
of  Blake’s  edition  of  Blair’s  “Grave”  (No.  40,  ii.,  below). 

xiii  “We  censure  nature  for  a span  too  short;  . . .”  (P.)  23 
W.  B.  inv.  & sc.  (Same  imprint  as  i.) 

“A  man  measuring  an  infant  with  his  span,  in  allusion  to  the  shortness 
of  life.” 

xiv  “ Time,  in  advance,  behind  him  hides  his  wings.  . , .”  (P.)  24 
W.  B.  inv.  (Same  imprint  as  i.) 

“ Our  inattention  to  the  progress  of  Time  illustrated  by  a figure  of  that 
god , (as  he  is  called  by  the  poet)  creeping  towards  us  with  stealthy  pace, 
and  carefully  concealing  his  wings  from  our  view.” 

xv  “Behold  him,  when  past  by  ; . . .”  (P.)  25 
W.  B.  inv.  & sc.  (Same  imprint  as  iv.) 

“Time  having  passed  us,  is  seen  displaying  his  ‘broad  pinions,’ 
and  treading  nearly  on  the  summit  of  the  globe,  eager  ‘ to  join 
anew  Eternity  his  sire.’” 

xvi  “ Measuring  his  motions  by  revolving  spheres  ; . . .”  (P.)  26 
W.  B.  inv.  & sc.  (No  imprint.) 

“ The  same  power  in  his  character  of  destroyer,  mowing  down  indis- 
criminately the  frail  inhabitants  of  this  world.” 

xvii  “ O treacherous  conscience  ! . . . ” (P.)  27 
W.  B.  inv.  & sc.  (Same  imprint  as  iv.) 

“ Conscience  represented  as  a recording  angel ; who  is  veiled,  and  in  the 
act  of  noting  down  the  sin  of  intemperance  in  a bacchanalian.” 

See  No.  42,  below. 


75 


17  “’TlS  GREATLY  WISE  TO  TALK  WITH  OUR  PAST  HOURS;  ...”  (P.)  3 1 

XVH1  W.  B.  inv.  & sc.  (No  imprint.) 

“ A good  man  conversing  with  his  past  hours,  and  examining  their 
report.  The  hours  are  drawn  as  aerial  and  shadowy  beings,  some  of  whom 
are  bringing  their  scrolls  to  the  inquirer,  while  others  are  carrying 
their  records  to  heaven.” 

xix  “Like  that,  the  dial  speaks;  and  points  to  thee;  ...”  (P.)  33 
W.  B.  inv.  & sc.  (Same  imprint  as  i.) 

“ Belshazzar  terrified  in  the  midst  of  his  impious  debauch  by  the  hand- 
writing on  the  wall.  The  passage  marked  out  by  the  asterisk,  sufficiently 
explains  the  propriety  with  which  the  story  is  alluded  to  by  the  poet, 
and  delineated  by  the  artist.” 

xx  “Teaching,  we  learn;  ...”  (P.)  35 
W.  B.  inv.  s.  (Same  imprint  as  i.) 

“ A parent  communicating  instruction  to  his  family.” 

xxi  “Love,  and  love  only,  ...”  (P.)  37 
W.  B.  inv.  & sc.  (No  imprint.) 

“The  story  of  the  good  Samaritan,  introduced  by  the  artist  as  an 
illustration  of  the  poet’s  sentiment,  that  love  alone  and  kind  offices  can 
purchase  love.” 

xxii  “Angels  should  paint  it,  angels  ever  there;  ...”  (P.)  40 

W.  B.  inv.  & s.  London.  Pubd.  Jan:  4,  1797,  by  R.  Edwards,  142  New 
Bond  Street. 

“ Angels  attending  the  death-bed  of  the  righteous,  and  administering 
consolation  to  his  last  moments.” 

xxiii  (The  just  man’s  spirit  rising  to  heaven.)  (P.)  41 

W.  B.  inv.  & sc.  London:  Pub.  Mar.  22,  1797,  by  R.  Edwards,  142  New 
Bond  Street. 

“ Angels  conveying  the  spirit  of  the  good  man  to  heaven.” 

Cp.  the  similar  subject  in  Blake’s  edition  of  Blair’s  “Grave”  (No.  40, 
below). 


76 


;;;  


&•*£,*.  SU  fj.<»  >.  ip/,  b R v*  A'-  3<-»J  J>  ' 


Plate  9 

“WHERE  SENSE  RUNS  SAVAGE  BROKE  FROM  REASON'S  CHAIN  . . 
Young’s  “ Night  Thoughts,’  1797 • (17  xxv) 


17  Night  the  Third,  Narcissa.  (Frontispiece.)  (P.)  43 

XX*V  W.  B.  inv.  & s.  (No  imprint.) 

“ A female  figure,  who  appears  from  the  crescent  beneath  her  feet  to 
have  surmounted  the  trials  of  this  world,  is  admitted  to  an  eternity  of 
glory:  eternity  is  represented  by  its  usual  emblem — a serpent  with  its 
extremities  united.” 

xxv  “ Where  sense  runs  savage  broke  from  reason’s  chain,  ...”  (P.)  46 

W.  B.  inv.  & s.  London,  Pubd.  Jan:  1,  179 7,  by  R.  Edwards,  142  New 
Bond  St4. 

“The  folly  and  danger  of  pursuing  the  pleasures  of  sense  as  the  chief 
objects  of  life  illustrated  by  the  figure  of  Death  just  ready  to  throw  his 
pall  over  a young  and  wanton  female.” 

xxvi  “And  bore  her  nearer  to  the  sun;  ...”  (P.)  49 

W.  B.  inv.  & s.  London,  Pubd.  June  27,  1796,  by  R.  Edwards,  142  New 
Bond  Strb 

“ The  author  supporting  a female  figure,  and  presenting  her  to  the  sun ; 
whose  aid  he  seems  to  solicit,  and  whose  chariot  is  seen  above, 
surrounded  and  in  some  measure  obscured  by  clouds.  The  artist  refers 
to  the  circumstance  alluded  to  in  the  poem,  of  the  author’s  having 
attended  his  step-daughter  (Narcissa)  who  was  languishing  in  a decline, 
to  a more  southern  climate.” 

xxvii  “ The  vale  of  death  ! . . . ” (P.)  54 
W.  B.  inv.  & s.  (Same  imprint  as  xxiii.) 

“The  vale  of  death,  where  the  Power  of  darkness  broods  over  his 
victims,  as  they  are  borne  down  to  the  grave  by  the  torrent  of  a sinful 
life.” 

xxviii  “ Ungrateful,  shall  we  grieve  their  hovering  shades.  . . . ”(  P.)  55 
W.  B.  inv.  & s.  (No  imprint.) 

“ His  guardian  angel  sent  to  reprove  a mourner  for  his  improper 
indulgence  of  sorrow  on  the  tomb  of  his  friend  : with  one  hand  the 
angel  touches  the  object  of  his  errand,  and  with  the  other  points  to 
those  realms  of  light  in  which  the  deceased  was  at  rest  from  his 
labours.” 


77 


17  “Trembling  each  gulp,  lest  death  should  snatch  the  bowl.  ...” 

xxix  (P.)  57 

W.  B.  inv.  & s.  (No  imprint.) 

“Death  with  his  uplifted  dart  just  disclosing  himself  to  a party  of 
bacchanals;  one  of  whom  still  continues  his  intoxicating  draught,  while 
his  comrades  discover  symptoms  of  extreme  alarm  on  the  unexpected 
intrusion  of  so  unwelcome  a guest.” 

xxx  “This  King  of  Terrors  is  the  Prince  of  Peace.  . . • ” <p.)  63 
W.  B.  inv.  & sc.  (No  imprint.) 

“To  the  eye  of  the  righteous  the  countenance  of  the  King  of  Terrors 
is  changed  into  that  of  the  Prince  of  Peace.” 

xxxi  The  Christian  Triumph.  (Frontispiece  to  “Night  the  Fourth.”) 

(P-)  65; 

W.  B.  in.  & s.  Pubd.  June  1st  179 7 by  R.  Edwards  New  Bond  Street. 

“ The  resurrection  of  our  Saviour,  typical  of  the  resurrection  of  all  his 
servants  from  the  grave.” 

xxxii  “Till  death,  that  mighty  hunter,  earths  them  all.  ” (P.)  70 
W.  B.  inv.  & sc.  London.  Pubd.  June  27,  1796,  by  R.  Edwards, 
142  New  Bond  Street. 

“Death,  as  a huntsman,  pursuing  with  ferocious  pleasure  his  human  game.” 

xxxiii  “.  . . sense  and  reason  shew  the  door,  . . .”  (P.)  72 

W.  B.  in.  & s.  Pubd.  June  1st  1797,  by  R.  Edwards,  N°  142  New 
Bond  Street. 

“ Two  figures,  intended  to  represent  Sense  and  Reason,  pointing  to 
another  scene  of  things,  and  admonishing  the  author  that  it  is  time  for 
him  to  depart  from  the  present.” 

xxxiv  “ Draw  the  dire  steel?  . . •”  (p-)  73 
(No  signature  or  imprint.) 

“ The  Saviour  represented  in  the  furnace  of  affliction,  and  agonised 
with  torture  for  the  sins  of  the  human  race.” 

xxxv  “Drove  back  his  chariot  ; midnight  veil’d  his  face,  . . .”  (P.)  75 
W.  B.  in.  & s.  (No  imprint.) 

“ The  sun  as  described  by  the  poet,  averting  his  face  (which  he  hides 
also  with  his  hands)  from  the  shocking  spectacle  of  our  Lord’s  sufferings.” 

78 


17  “The  thunder,  if  in  that  the  Almighty  dwells  ? . . (P.)  80 

XXXV1  \\r.  B.  in>  & s.  (Same  imprint  as  xxxiii.) 

“ A personification  of  Thunder  directing  the  adoration  of  the  poet  to 
the  Almighty  in  heaven.” 

xxxvii  “ His  hand  the  good  man  fastens  on  the  skies,  . . (P.)  86 

W.  B.  in.  & s.  (No  imprint.) 

“The  exalted  views  of  a good  man  beyond  the  pleasures  of  life, 
allegorically  described  by  a figure  in  the  clouds,  with  one  hand  fixed  in 
the  sky,  and  with  the  other  pointing  to  the  earth  beneath  him.” 

xxxviii  “ Is  lost  in  love  ! thou  great  Philanthropist  !”  (P.)87 
W.  B.  in.  & s.  (No  imprint.) 

“ Christ  represented  as  the  great  philanthropist,  receiving  and  instruct- 
ing all  ages  and  sexes.” 

xxxix  f<  But  for  the  blessing  wrestle  not  with  heaven  ! ” (P.)  88 
W.  B.  in.  & s.  (Same  imprint  as  in  xxxiii.) 

“ Earnest  prayer  and  intercourse  with  Heaven  compared  to  the  wrestling 
of  Jacob  with  the  angel  for  a blessing.” 

xl  “ That  touch,  with  charm  celestial  heals  the  soul.  . . (P.)  9° 

W.  B.  in.  8c  s.  (No  imprint.) 

“ The  Saviour  healing  Affliction  by  a touch  with  his  hand.” 

xli  “ When  faith  is  virtue,  reason  makes  it  so.  . . ” (P.)  92 
W.  B.  in.  & s.  (No  imprint.) 

“ The  harmony  between  Faith  and  Reason,  illustrated  by  Faith  writing 
down  the  dictates  of  Reason.” 

xlii  “ If  angels  tremble,  ’tis  at  such  a sight  ; . . •”  (p‘)  93 
W.  B.  in  & s.  (Same  imprint  as  xxxiii.) 

“ Angels  retiring  in  grief  and  wonder  from  their  charge  of  a determined 
infidel.” 

xliii  “The  goddess  bursts  in  thunder  and  in  flame;  . . •”  (P-)  95 
W.  B.  inv.  8c  s.  (No  imprint.) 

“ A personification  of  Truth,  as  she  is  represented  by  the  Poet,  bursting 
on  the  last  moments  of  the  sinner  ‘ in  thunder  and  in  flame.’  ” 


79 


17  It  was  the  publisher’s  original  intention  to  issue  the  whole  poem  of  the 
xliii  “ Night  Thoughts,”  consisting  of  nine  “ Nights,”  in  parts,  with  Blake’s 
illustrations.  With  this  end  in  view,  he  commissioned  from  the  artist  a 
complete  set  of  drawings,  which  were  executed  in  water-colours,  to  the 
number  of  five  hundred  and  thirty-seven.  The  two  volumes  containing 
these  original  designs  remained  for  many  years  in  the  possession  of  the 
publisher’s  family,  from  which  they  passed,  at  some  date  between  1863 
and  1880,  into  the  hands  of  Mr  Bain,  the  bookseller,  of  the  Haymarket.1 
By  him  they  were  sold  to  an  American  bookseller,  and  they  are  now  in 
the  collection  of  Mr  W.  A.  White  of  Brooklyn  (U.S.A.).  They  were 
lent  by  Mr  White  to  the  exhibition  of  Blake’s  works  at  the  Grolier 
Club  (New  York),  in  1905.2  The  recto  of  the  frontispiece  of  the  second 
volume  is  inscribed  with  the  publisher’s  autograph,  “ Richard  Edwards, 
High  Elms.”  The  following  account  of  the  composition  of  the  books  was 
contributed  by  the  late  Mr  Frederic  Shields  to  the  second  edition  of 
Gilchrist’s  “ Life”3: — “ There  was  published  in  Parts  or  ‘Nights,’  between 
1742-1745,  a quarto  edition  of  the  ‘ Night  Thoughts,’  and  a copy  of  the 
letterpress,  9 inches  high  by  6|  inches  wide,  is  inlaid,  somewhat  out  of 
the  centre,  within  a sheet  of  drawing-paper,  measuring  17  by  I2f  inches. 
This  (it  all  bears  the  watermark  ‘ J.  Whatman,  1794’)  is  again  itself 
inlaid  in  a stronger  edging  of  paper,  bearing  on  its  inner  margin  a ruled 
and  tinted  framework,  which  bounds  and  encloses  the  designs ; the  whole 
page  thus  elaborately  constituted  measuring  21  by  16  inches.  The  space 
left  between  the  inlaid  text  and  the  outer  margin  of  the  drawing-paper 
is,  as  before  indicated,  unequally  distributed,  being  broad  at  the  base 
and  one  side,  and  narrow  at  the  top  and  opposite  side.  Filling  these 
spaces,  and  covering  both  sides  of  the  sheet,  the  designs  are  drawn  with 
a brush  in  Indian  ink,  and  then  coloured,  sometimes  in  pale  tints  only, 
sometimes  with  full  depth  and  richness.  At  the  beginning  of  each  volume 
there  is  a frontispiece  entirely  filled  with  design,  unbroken  by  text;  and 
each  Night  has,  to  its  pages  of  Title  and  Preface,  approximate  and 
suggestive  inventions,  besides  those  which  illustrate  the  text  of  the  poem.” 
A further  note  by  Mr  Shields  on  the  character  of  the  inventions  is  to  be 
found  elsewhere  in  the  “ Life,”  4 as  follows ; — “ In  some,  every  inch  of  the 
available  margin  is  quick  with  multitudinous  invention  ; and  in  others  the 
whole  interest  is  gathered  to  the  broadest  spaces  and  the  remainder  left 
as  great  breadths  of  light  or  gloom.  As  might  be  expected  in  so  vast  a 
task,  they  are  very  unequal  both  in  conception  and  design.  In  succession 

1 See  Gilchrist’s  “Life”  (ed.  1880),  vol.  ii.  p.  289. 

2 No.  87  in  the  Catalogue. 

3 Vol.  ii.  pp.  289-290. 

4 Ed.  1880,  vol.  i.  p.  136. 


80 


17  they  are  solemn,  tender  or  playful,  broken  by  frequent  bursts  of  Titanic 
xliii  inspiration  under  which  the  pages  tremble.  Then  follow  others  painfully 
grotesque,  or  feebly  uninteresting,  but  these  are  comparatively  few;  and 
the  inspection  of  these  unique  volumes  (which  ought  to  belong  to  the 
nation)  cannot  fail  to  impress  on  the  mind  of  every  lover  of  Blake  a 
loftier  estimate  of  his  gigantic  powers  than  was  before  entertained.”  Mr 
Shield’s  descriptive  notes  of  the  designs  themselves  will  be  found  at  the 
end  of  the  second  volume  of  the  “ Life.” 1 

It  is  stated  by  Gilchrist  that  it  was  in  the  year  1796  that  Blake  received 
from  Edwards  his  order  for  the  drawings.2  They  must,  however,  have 
been  taken  in  hand  at  a somewhat  earlier  date  than  this,  as  a number  of 
them  had  already  been  engraved  by  the  middle  of  that  year.  The 
watermark  of  the  paper  upon  which  they  are  drawn  (see  above)  gives  the 
year  1794  as  the  earliest  in  which  they  can  have  been  begun.  The  same 
year  appears  in  the  watermark  of  several  of  the  proofs  described  below, 
and  the  fine  copy  of  the  book  in  its  published  state,  kindly  lent  to  the 
writer  by  Mr  Robson,  for  the  purpose  of  the  reproductions  here  given, 
is  printed  on  Whatman  paper  of  this  date.  It  seems,  therefore,  likely  that 
the  order  for  the  paper  to  be  used  in  the  undertaking  (following  close 
upon  the  commission  for  the  drawings),  was  given  in  either  that  year  or 
the  next.  It  will  be  seen  above  that  the  date  of  the  engravings  ranges 
from  2 1 st  June  1796  to  1st  June  1797.  The  existing  volume,  composed 
of  ninety-five  pages  and  extending  to  the  end  of  the  Fourth  Night  of 
the  poem,  is  the  first  and  only  published  part  of  the  contemplated 
edition.  After  this,  through  want  of  adequate  support  from  the  public, 
the  project  had  to  be  abandoned.  The  preface,  dated  22nd  December 
1796,  is  said  to  have  been  written  by  Fuseli  (who  may  also  be  the 
author  of  the  “ Explanation  of  the  Engravings  ”) ; it  concludes  with  the 
following  reference  to  Blake’s  designs : — “ Of  the  merit  of  Mr  Blake  in 
those  designs  which  form  not  only  the  ornament  of  the  page,  but,  in 
many  instances,  the  illustration  of  the  poem,  the  editor  conceives  it  to  be 
unnecessary  to  speak.  To  the  eyes  of  the  discerning  it  need  not  be 
pointed  out ; and  while  a taste  for  the  arts  of  the  design  shall  continue 
to  exist,  the  original  conception,  and  the  bold  and  masterly  execution  ol 
this  artist  cannot  be  unnoticed  or  unadmired.” 

A certain  number  of  copies  of  the  book  have  the  designs  tinted  in 
water-colours  by  the  artist.3  One  of  these,  done  for  his  patron,  Mr  Butts, 
was  sold  at  the  Crewe  sale,  30th  March  1903,  for  ^170,  and  is  now  in 

1 Pp.  290-307. 

2 See  the  “Life”  (ed.  1880),  vol.  i.  p.  135. 

3 Collectors  are  advised,  however,  to  beware  of  purchasing  copies  of  the  “ Night  Thoughts,”  purporting 
to  be  coloured  by  Blake  himself,  which  are  not  well  authenticated  ; as  a certain  number  of  those  with 
original  colouring  were  tinted  by  Mrs  Blake  ; and  copies  with  modern  tinting  are,  also,  sometimes 
offered  for  sale. 


F 


17  the  collection  of  Mr  White,  the  owner  of  the  original  drawings.  A 
xliii  collection  of  twenty-four  early  proofs  of  the  engravings  was  sold  in  the 

Butts  Sale  at  Sotheby’s,  24th  June  1903  (Lot  22).  They  were  purchased, 
for  ^15,  1 os.,  by  Mr  Tregaskis.  A number  of  them  are  in  an  unfinished 
state,  and  almost  all  are  before  all  letters ; a few  are  touched  with 
pencil  or  wash  by  Blake — e.g.  one  of  three  proofs  of  the  frontispiece  to 
the  Second  Night  has  an  additional  figure  put  in  in  pencil.  Three  of 
them  have  watermarked  dates,  1794  (two)  and  1795  (one). 

An  India  sketch  of  a Young  Woman  and  two  Children  kneeling  by  a 
Grave,  reproduced  in  Gilchrist’s  “Life”  (ed.  1880,  vol.  i.,  facing  p.  234), 
under  the  title  of  “Young  burying  Narcissa,”  is  in  reality  unconnected 
with  the  Poem  of  the  “Night  Thoughts”;  a design  nearly  similar  to  it 
is  engraved  in  reverse  in  Blake’s  “ Songs  of  Experience  ” in  illustration 
of  “The  Garden  of  Love.” 

18  LITTLE  TOM  THE  SAILOR 
W.  Blake  inv.  & sc. 

Printed  for  & Sold  by  the  Widow  Spicer  of  Folkstone  for  the  benefit 
of  her  orphans,  October  5,  1800. 

Woodcut  upon  pewter.  Four  plates  were  used:  one  for  each  of  the  two 
pictorial  designs  (measuring — upper,  4§x6§  in.;  lower,  4-§x6Tse  in.); 
one  for  the  Ballad  (8|x4j  in.) ; and  one  for  the  imprint  (ifx4§  in.). 

The  above  is  a broadside,  with  the  text  of  Hayley’s  Ballad  of  “ Little 
Tom  the  Sailor”  inscribed  between  two  illustrations  both  designed  and 
engraved  by  Blake.  In  the  design  at  the  top,  little  Tom  is  shown  holding 
on  to  the  mast  of  the  sinking  ship  in  a stormy  sea,  with  the  flag  still 
flying  on  high;  over  his  head  an  angel  appears,  with  outspread  arms 
parting  the  clouds  and  quelling  the  lightning.  In  that  at  the  bottom,  the 
widowed  mother  comes  out  of  her  cottage,  carrying  a pitcher.  A little 
boy,  standing  in  the  cottage  door  (1.),  gazes  after  her,  and  inside  a little 
girl  watches  over  an  infant  in  its  cradle.  There  is  a landscape  background, 
with  a winding  road,  trees,  some  buildings  in  the  distance  and  on  the 
horizon  a hill,  and  with  a sunset  sky. 

The  ballad  was  written  by  Hayley,  22nd  September  1800,  for  the 
widowed  mother  of  a Folkestone  sailor  lad,  named  Tom  Spicer,  who  had 
been  drowned  at  sea.  The  broadsheet  is  mentioned  in  a letter  from 
Blake  to  Hayley,  dated  26th  November  1800.1  Ballad  and  imprint  are 
executed  in  the  ordinary  method  of  relief-etching  employed  by  Blake  in 
the  engraved  books.  The  pictorial  designs  are  examples  of  what  he 
called  “wood-cutting  on  pewter”  (see  p.  32).  Some  examples  of  the 

1 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  1906,  p.  85,  facing  which  Blake’s 
two  designs  are  reproduced. 


LITTLE  TOM  THE  SAILOR 
Lower  portion,  1800.  (18) 


18  print  were  issued  plain,  and  some  were  coloured  by  hand  ; the  former 
are  generally  preferable.  The  example  in  the  Print  Room  is  coloured. 


19  DESIGNS  TO  A SERIES  OF  BALLADS,  WRITTEN  BY  WILLIAM 
HAYLEY,  ESQ.  AND  FOUNDED  ON  ANECDOTES  RELATING 
TO  ANIMALS,  DRAWN,  ENGRAVED,  AND  PUBLISHED,  BY 
WILLIAM  BLAKE.  WITH  THE  BALLADS  ANNEXED,  BY  THE 
AUTHOR’S  PERMISSION 

Chichester : Printed  by  J.  Seagrave,  and  sold  by  him  and  P.  Humphry ; 
and  by  R.  H.  Evans,  Pall-Mall,  London,  for  W.  Blake,  Felpham, 
1802.  (qto.) 

Issued  in  four  parts,1  in  blue  wrappers,  with  fourteen  engravings 
(including  head  and  tail-pieces)  by  Blake  (with  the  exception  of  two 
tail-pieces  from  the  antique)  from  his  own  designs.  The  first  part  bears 
the  price  2s.  6d.  upon  the  wrapper. 

Number  1. 

i.  (“  Adam  and  the  Animals.”  Frontispiece) 

“ Their  strength,  or  speed,  or  vigilance,  were  giv’n 
In  aid  of  our  defects.  In  some  are  found 
Such  teachable  and  apprehensive  parts, 

That  man’s  attainments  in  his  own  concerns 
Match’d  with  th’expertness  of  the  brutes  in  theirs 
Are  oft  times  vanquished  and  thrown  far  behind.” 

Cowper’s  “Task,”  Book  VI. 

Blake  d.  & s.  Publish’d  June  1,  1802  by  W.  Blake,  Felpham.  Line; 
6|X5|  in. 

Adam  sits  beneath  a tree,  surrounded  by  the  beasts.  His  right  hand 
rests  upon  the  mane  of  a lion,  crouched  at  his  side.  The  serpent  eyes  a pair 
of  doves  in  front.  A horse  and  a sheep  are  at  his  left  hand,  and  an  eagle 
is  perched  upon  the  tree  above.  A peacock,  a bull,  etc.,  are  on  his  right. 
Mentioned  by  Hayley  in  a letter  of  16th  May  1802: — “He  (Blake)  is 
at  this  moment  by  my  side,  representing  on  copper  an  Adam  of  his  own, 
surrounded  by  animals, — a frontispiece  to  the  projected  ballads.” 

ii  (Tail-piece  on  p.  iv.) 

W.  B.  d.  & s.  Publish’d  June  1,  1802,  by  W.  Blake,  Felpham.  Line; 
in. 

A landscape,  with  a view  of  Chichester  Cathedral  and  the  sea. 

1 Complete  sets  of  all  the  four  parts  together  are  somewhat  rare;  Number  4 (“The  Dog”)  is 
frequently  absent. 


83 


19  (The  Elephant.  Frontispiece  to  Ballad  the  First.  Facing,  p.  1) 

iii  Blake  d.  & s.  Publish’d  June  i,  1802  by  W.  Blake,  Felpham.  Line; 
5lx  3l  in- 

The  elephant  lifts  a native  gardener  high  into  the  air  with  his  trunk.  The 
gardener’s  shed  is  on  the  r.,  and  there  is  a temple  in  the  background. 

iv  (The  Elephant.  Head-piece  to  the  Ballad,  p.  1) 

Blake  d.  & s.  Publish’d  June  1,  1802  by  W.  Blake,  Felpham.  Line; 
oval,  2-|x  4§  in. 

A tiger  is  about  to  spring  at  the  gardener  who  escapes  through  a 
window  high  up  on  the  r. 

v (The  Elephant.  Tail-piece  to  the  Ballad,  p.  9) 

Blake  sc.  Publish’d,  June  1,  1802  by  W.  Blake,  Felpham.  Stipple. 
Oval,  2^x3!  in. 

An  elephant  “ From  an  Antique  Gem.”  The  “ Size  of  the  Gem  ” is 
indicated  in  an  oval,  on  the  1.,  below. 

Number  2. 

vi  (The  Eagle.  Frontispiece  to  Ballad  the  Second.  Facing  p 10) 

Blake  d.  & s.  Published  July  1,  1802  by  W.  Blake,  Felpham.  Line; 

5t96  x 3 1 in- 

A young  woman  kneels  with  outstretched  arms  upon  a rock  at  the  edge 
of  an  overhanging  clift  about  to  rescue  her  child  from  an  eagle’s  nest. 

A slight  pencil  study  (6^  x 5X7T  in.),  for  the  design  exists  in  the  Print 
Room  (1867 — 10-12  . . . 190) 

vii  (The  Eagle.  Head-piece  to  the  Ballad,  p.  11) 

Blake  inv.  Publish’d  July  1,  1802  by  W.  Blake,  Felpham.  Line; 

2xlx3i  in- 

The  eagle  swoops  down  upon  the  child  asleep  outside  its  mother’s 
cottage.  A mountainous  background. 

Mr  Sydney  Morse  has  a slight  pencil  study  of  an  alternative  design,  in 
which  the  mother  is  represented  as  throwing  herself  upon  the  eagle 
as  it  carries  off  her  child. 

viii  (The  Eagle.  Tail-piece  to  the  Ballad,  p.  26) 

Blake  in.  Publish’d  July  1,  1802  by  W.  Blake,  Felpham.  Line; 
2Jix  4 in. 

The  child  stands  triumphantly  over  the  body  of  the  eagle. 

Number  3. 

ix  (The  Lion.  Frontispiece  to  Ballad  the  Third.  Facing  p.  27) 

Blake  in.  & s.  Publish’d  Aug9t  5,  1802  by  W.  Blake,  Felpham.  Line; 
6|  x 5 in. 


84 


19  A young  African  woman,  with  a bow,  transfixes  a lion  beneath  a palm 

ix  tree,  whither  her  husband  has  escaped  from  the  animal’s  jaws.  Her 
little  boy  looks  on  at  her  side. 

x (The  Lion.  Head-piece  to  the  Ballad,  p.  27) 

Blake  inv.  & sc.  Publish’d  Augst  c , 1802  by  W.  Blake,  Felpham.  Line; 
oval,  213x311-  in. 

The  child  leads  his  mother  to  the  place  of  his  father’s  danger;  they 
carry  a bow  and  arrows  with  them. 

xi  (The  Lion.  Tail-piece  to  the  Ballad,  p.  39) 

T.  H.1  del.  Blake  sc.  Publish’d  Augst  5,  1802  by  W Blake,  Felpham. 
Stipple;  oval,  2^x3^  in. 

A Lion,  “ From  an  Antique.” 

Number  4.2 

xii  (The  Dog.  Frontispiece  to  Ballad  the  Fourth:  Facing  p.  40) 

Blake  inv.  & sc.  Publish’d  Septr.  9,  1802  by  W.  Blake,  Felpham 
Line;  (plate  measurement),  6^x5^  in. 

The  faithful  dog,  Fido,  jumps  from  the  edge  of  a rock  into  the  open 
jaws  of  a crocodile  in  the  river  below,  in  order  to  save  from  a like  fate 
his  master,  who  is  bathing  and  is  himself  about  to  plunge  into  the 
water. 

The  subject  is  contained  within  an  ornamental  border. 

xiii  (The  Dog.  Head-piece  to  the  Ballad,  p.  41) 

Blake  inv.  s.  (Same  imprint  as  the  preceding  No.)  Line ; (plate 
measurement),  3^X4§  in. 

Edward  and  Lucy,  with  Fido. 

xiv  (Plate  facing  p.  51) 

Blake  in.  s.  (Same  imprint.)  Line;  (plate  measurement),  6x4^  in. 

Lucy,  beside  the  marble  statue  of  Fido. 

The  above  four  numbers  3 of  the  Ballads  were  all  that  were  issued,  out 
of  a projected  fifteen.  The  following  account  of  the  origin  and  scope 
of  the  undertaking  is  given  by  Hayley  in  the  preface  : — “ Having  been, 
for  some  time  engaged  in  a Work  that  required  much  sedentary  and 
serious  attention,  I wished  to  indulge  occasionally  in  such  literary 

1 Thomas  Hayley,  the  son  of  Blake’s  patron. 

2 The  particulars  of  the  Fourth  Number  were  kindly  supplied  to  the  writer  by  Mr  B.  B.  Macgeorge, 
who  possesses  a complete  set  of  the  four  parts  of  the  “ Ballads  ” in  their  original  wrappers. 

3 Gilchrist  states  (“  Life”  ed.  1880,  vol.  i.  p.  178)  that  three  parts  only  were  issued. 

85 


19  relaxation,  as  might  relieve  my  own  mind,  and  still  more  amuse  a 
xiv  friendly  fellow  labourer^  whose  assiduous  occupation  gives  him  a better 
claim  to  such  indulgence : — 1 mean  my  friend,  Mr  Blake,  the  Artist,  who 
has  devoted  himself,  with  indefatigable  spirit,  to  engrave  the  plates 
intended  to  decorate  the  volumes,  in  which  1 hope  to  render  affectionate 
justice  to  the  memory  of  Cowper. — ’There  is  hardly  any  kind  of  ingenious 
employment  in  which  the  mind  requires  more  to  be  cheared  and  diverted, 
than  the  slow,  and  sometimes  very  irksome,  progress  of  engraving; 
especially  when  that  art  is  exercised  by  a person  of  varied  talents,  and 
of  a creative  imagination. — To  amuse  the  Artist  in  his  patient  labour, 
and  to  furnish  his  fancy  with  a few  slight  subjects  for  an  inventive 
pencil,  that  might  afford  some  variety  to  his  incessant  application,  without 
too  far  interrupting  his  more  serious  business,  I chanced  to  compose,  in 
hours  of  exercise  and  leisure,  a few  Ballads,  upon  anecdotes  relating  to 
animals,  that  happened  to  interest  my  fancy.  They  succeeded  perfectly 
as  an  amusement  to  my  Friend;  and  led  him  to  execute  a few  rapid 
sketches,  that  several  judges  of  his  talent  are  desirous  of  converting  to 
his  honour  and  emolument.  The  favour  that  two  or  three  Ballads  obtained, 
in  a private  circle,  induced  us  to  enlarge  the  number;  and  to  try  their 
success  in  the  world  as  a periodical  publication. — It  is  proposed  to 
publish  every  month,  a Number,  containing  three  Engravings,  with  one 
Ballad,  at  the  price  of  Half-a-crown ; and  to  complete  the  whole  series 
in  fifteen  Numbers,  so  that  the  purchaser  will  ultimately  obtain  a quarto 
Volume,  containing  forty-five  Engravings,  not  to  mention  the  Ballads, 
which  indeed  I wish  to  be  considered  as  vehicles  contrived  to  exhibit 
the  diversified  talents  of  my  Friend  for  original  design,  and  delicate 
engraving.- — -Since  friendship  induced  this  meritorious  Artist  to  leave 
London  (the  great  lucrative  theatre  of  talents!)  for  the  sake  of  settling 
near  me,  it  seems  to  be  a duty  incumbent  on  me  to  use  every  liberal 
method,  in  my  power,  to  obtain  for  his  industrious  ingenuity,  the  notice 
and  favour  of  my  Countrymen.” 

On  the  25th  April  1 803  Blake  wrote  to  Butts 1 that  “ the  Ballads  had 
been  suspended  ” owing  to  “ the  pressure  of  other  business,”  and  on  the 
26th  October  following  he  wrote  to  Hayley  from  London2: — “I  called 
on  Mr  Evans  (the  bookseller — see  the  title-page),  who  gives  small  hopes 
of  our  Ballads ; he  says  he  has  sold  but  fifteen  numbers  at  the  most,  and 
that  going  on  would  be  a certain  loss  of  almost  all  the  expenses.”  The 
project  was,  accordingly,  abandoned,  after  the  issue  of  the  four  parts.  It 
was  later  resumed,  with  the  publication  of  the  i2mo  edition  in  1805. 
(See  No.  20.) 

1 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  p.  113. 

2 See  ibid.  p.  132. 


86 


or/  P / 

J/ipy  ttf&uy. 

Pub  ‘{Ju  ne  id  / 80S by  P F/uIbfis  Nff  B ridge  Street  BUuk  Frecrs. 


From  Hayley's  “ Mallads,"  1805  (-20  ii) 


20  BALLADS,  BY  WILLIAM  HAYLEY  ESQ.,  FOUNDED  ON 
ANECDOTES  RELATING  TO  ANIMALS,  WITH  PRINTS 
DESIGNED  AND  ENGRAVED  BY  WILLIAM  BLAKE 

Chichester:  printed  by  J.  Seagrave;  for  Richard  Phillips,  Bridge-Street, 
Blackfriars,  London.  1805.  (nmo.) 

Contains  five  plates,  all  designed  and  engraved  in  line  by  Blake.  Nos.  i., 
ii.  and  iii.  are  signed,  “Blake  inv.  & s.” ; nos.  iv.  and  v.,  “ Blake  inv.  & 
sc.”  The  frontispiece  is  imprinted,  “Pubd.  June  18,  1805,  by  R.  Phillips, 
N.  6,  Bridge  Street,  Black-Friers”;  the  remainder  of  the  plates  bear  the 
same  imprint,  with  “ No.  6 ” substituted  for  “ N.  6.” 

i The  Dog.  (Frontispiece) 

4tV  x in- 

A naked  youth,  about  to  spring  from  a rock  into  a river,  is  stayed  on  the 
brink  by  the  sight  of  his  faithful  dog  leaping  into  the  wide  open  jaws  ot 
a crocodile  below. 

ii  The  Eagle.  (To  Ballad  the  Third) 

4iX2f  in. 

A young  woman  kneels  with  outstretched  arms  upon  a rock  at  the  edge 
of  an  overhanging  cliff,  about  to  rescue  her  child  from  an  eagle’s  nest. 
Mr  W.  Graham  Robertson  has  the  original  sketch,  in  india  ink,  for  this 
design  • it  is  probably  the  one  sold  at  Sotheby’s,  29th  April  1862  (lot 

180,  with  another,  £1,  Palser). 

iii  The  Lion.  (To  Ballad  the  Ninth) 

4 AX2|  in. 

A young  African  woman,  with  a bow,  transfixes  a lion  beneath  a palm 
tree,  whither  her  husband  has  escaped  from  the  animal’s  jaws.  Her  little 
boy  looks  on  at  her  side. 

A sketch  for  this  design  was  sold  at  Sotheby’s,  29th  April  1862  (lot 

1 8 1,  with  four  others,  9s.  M.  Milnes,  i.e.  the  late  Lord  Houghton). 

iv  The  Hermit’s  Dog.  (To  Ballad  the  Eleventh) 

4|X2J|  in. 

A black  dog  scares  the  vultures  from  his  master’s  dead  body ; one  of 
them  it  has  killed,  while  another  swoops  down  between  dark  pine  stems. 
The  fallen  master  has  a sword  by  his  side  and  a Maltese  cross  upon  his 
cloak.  A hermit  comes  upon  the  scene  to  1. 

87 


20  The  Horse.  (To  Ballad  the  Seventh) 

v , 7 . 

4tx  2§  m. 

A mother,  leading  her  child  through  a wood,  is  confronted  by  a fiery 
white  horse,  which  her  calm  demeanour  succeeds  in  taming.  In  front,  is 
a pool,  with  arching  pine  stems  beyond. 

Mr  W.  M.  Rossetti  mentions1  “an  oil-picture  (?)  on  copper”  of  this 
subject:— “A  fine  miniature-like  painting  of  the  admirable  engraved 
subject,  some  four  inches  or  less  in  height.  Coloured  in  yellowish-grey 
half-tints.”  It  belongs,  he  states  elsewhere,  to  a Roman  Catholic 
seminary  in  the  environs  of  Wigan. 

The  designs  for  this  little  volume  are  several  times  alluded  to  in  Blake’s 
letters.2  In  a letter  to  Hayley  of  22nd  January  1805  he  speaks  of  the 
publisher’s  proposal  to  reissue  the  “Ballads”  “ all  together  in  a volume 
the  size  of  the  small  edition  of  the  “Triumphs  of  Temper,”  with  six  or 
seven  plates,”  in  a first  edition  of  a thousand  copies.  On  the  25th  April 
following,  he  writes  to  say  that  the  matter  is  settled  : — “ The  prints, 
five  in  number,  I have  engaged  to  finish  by  28  th  May.  They  are  to  be  as 
highly  finished  as  I can  do  them,  the  size  the  same  as  the  seven  plates, 
the  price  twenty  guineas  each,  half  to  be  prepaid  by  P(hillips).  The 
subjects  I cannot  do  better  than  those  already  chosen,  as  they  are  the 
most  eminent  among  animals,  viz. : the  Lion,  the  Eagle,  the  Horse,  the 
Dog.  Of  the  dog  species,  the  two  ballads  are  so  pre-eminent,  and  my 
designs  for  them  please  me  so  well,  that  I have  chosen  that  design  in  our 
last  number,  of  the  dog  and  crocodile,  and  that  of  the  dog  defending  his 
dead  master  from  the  vultures.  Of  these  five  I am  making  little  high 
finished  pictures,3  the  size  the  engravings  are  to  be,  and  I am  hard  at  it 
to  accomplish  in  time  what  I intend.”  At  the  end  of  the  same  letter  is 
the  draught  of  an  advertisement  of  the  “Ballads,”  which  however  was 
not  used  for  the  purpose  intended.  On  the  4th  June  in  the  same  year,  he 
expresses  a fear  that  the  print  of  “ The  Horse  ” is  after  all  to  be  omitted, 
and  entreats  that  it  may  not  be  so,  as  “ I consider  (it)  as  one  of  my  best ; 
I know  it  has  cost  me  immense  labour.” 


21  (DEATH’S  DOOR) 

(c.  1805.) 

It  is  stated  by  Gilchrist 4 that  “one  or  two”  of  the  plates  for  Blair’s 

1 In  Gilchrist’s  “Life”(ed.  1880)  vol.  ii.  p.  216,  No.  74. 

2 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  1906,  pp.  179-181  183-185, 
198;  “The  Horse”  is  there  reproduced,  to  face  p.  184. 

3 Mr  Graham  Robertson’s  sketch  for  “The  Eagle,”  mentioned  above,  is  one  of  these. 

4 In  the  “ Life”  (ed.  1880),  vol.  i.  p.  248. 


21  “ Grave  ” were  already  engraved  by  Blake  himself,  prior  to  the  repudia- 

tion of  Cromek  of  his  bargain  with  the  artist  that  he  should  be  the 
engraver  of  his  own  designs  ; “ a print  of  ‘Death’s  Door,’  he  adds,  “ I 
have  seen.”  No  example  of  any  of  the  series  engraved  by  Blake’s  hand 
is  known  to  the  present  writer.  It  seems  to  him  at  least  possible  that 
Gilchrist  was  mistaken.  A small  print  entitled  “ Death’s  Door,”  closely 
corresponding  in  design  with  the  lower  portion  of  the  same  subject  in 
the  “Grave,”1  is  to  be  found  in  “The  Gates  of  Paradise”  (see  No.  8, 
xviii.,  above).2  There,  in  any  case,  lies  a likely  source  of  confusion.  The 
writer  has  had  some  correspondence  on  this  subject  with  Mr  Herbert 
Palmer  (son  of  Samuel  Palmer,  the  artist),  who  claimed  to  possess  an 
example  of  the  “ Death’s  Door  ” in  Blair’s  “ Grave,”  engraved  by  Blake. 
The  print  in  question  was  sent  by  its  owner  to  Messrs  Sotheby’s 
(whether  for  sale  or  not  the  writer  is  unaware),  where  permission  to 
examine  it  was  given  by  him  to  the  writer.  As,  however,  the  permission 
was  no  sooner  given  than  it  was  withdrawn,  the  writer  was  unable  to 
verify  the  owner’s  assertion. 


22  (“LET  HIM  LOOK  UP  INTO  THE  HEAVENS  & LAUGH 
IN  THE  BRIGHT  AIR.”  “ America,”  p.  6,  1.  7) 

(Without  title,  signature  or  date.  ?c.  1805-10.)  Relief  etching ; 6fVx  3U  in. 

This  obscure  design  is  divided  horizontally  into  two  compartments  by  a 
space  decorated  with  various  symbolic  figures  including  a triangle,  a circle 
and  a square.  The  subject  of  the  print,  which  is  repeated  with  some 
modifications  in  each  of  the  two  sections,  is  a naked  youth,  visible  only 
from  a little  below  the  shoulders  downwards,  who  appears  to  be  arising 
from  the  earth ; his  posture  closely  resembles  that  of  the  risen  body 
sitting  upon  the  tomb  in  “Death’s  Door”  from  Blair’s  “Grave,”3  only 
the  position  of  the  legs  is  reversed.  In  the  lower  section,  the  youth’s 
left  hand  rests  upon  a rock  which  projects  from  the  ground  just  above 
two  human  heads,  one  of  an  old  woman  with  a face  much  furrowed  with 
deep  lines  and  with  her  lips  parted,  the  other  a child’s;  the  bodies 
belonging  to  them  seem  to  be  planted  in  the  earth.  The  place  of  these 
two  heads  is  taken,  in  the  upper  portion,  by  the  head  and  shoulders  of  a 
woman  with  an  agonised  expression  and  her  lips  wide  apart  as  if  in  the 
act  of  wailing,  together  with  the  head  of  a cat,  the  bodies  of  both  being 


1 See  No.  40,  xi,  below. 

2 A somewhat  similar  design  is,  also,  to  be  seen  on  p.  12  of  Blake’s  “ America.” 

3 See  No.  40,  xi,  below. 


22  similarly  imbedded.  The  youthful  form  has  here  risen  a little  higher,  so 
that  slightly  less  of  it  comes  within  the  margin  of  the  print,  and  an 
ascending  lark  appears  on  his  right  hand. 

The  only  known  example  of  this  print  is  bound  up  in  a volume  of 
miscellaneous  Blake  items  in  the  possession  of  Mr  B.  B.  Macgeorge  of 
Glasgow.  It  is  executed  in  the  manner  of  relief  etching  employed 
by  Blake  in  the  Prophetical  Books,  and  in  style  and  character  it 
most  nearly  resembles  the  illustrations  of  the  “ Jerusalem.”  On  this 
account  and  in  view  of  the  connection  with  the  design  in  Blair’s  “Grave,” 
it  may  be  conjecturally  assigned  in  date  to  the  end  of  the  first  decade  of 
the  nineteenth  century.  A solution  of  its  enigmatic  subject  is  not  easy  to 
find.  If  the  attempt  to  explain  it  appear  too  fanciful,  it  is  not  more  so 
than  the  design  itself,  and  the  suggestions  made  are  at  least  consistent  with 
the  spirit  of  Blake’s  mystical  writings.  The  idea  which  seems  to  be  pre- 
sented is  the  release  of  man  from  the  tyranny  of  material  existence  and  his 
regeneration  into  the  Spirit.  He  arises,  through  Imagination,  from  his 
prison  of  clay,  and  his  head,  the  symbol  of  his  intellectual  part,  passes 
out  of  the  design  into  the  infinite  and  immaterial.  The  lark  is  Blake’s 
type  of  ecstatic  joy.  The  heads  with  their  bodies  buried  may  be  held  to 
be  those  who,  by  the  aid  of  the  imaginative  man,  with  difficulty  struggle 
into  the  Light — the  cat  perhaps  standing  for  the  enslaved  portion  of  the 
animal  kingdom,  escaping  to  its  natural  freedom.  By  the  reduplication  of 
the  design,  it  is  not  impossible  that  the  gradual  process  of  redemption  is 
intended.  The  presence  of  the  cat  and  of  the  engraved  symbols  seem  to 
suggest  an  Egyptian  inspiration,  and  may  perhaps  have  a magical  signi- 
ficance. The  figure  of  a nude  man  sitting,  with  a skull  at  his  side,  upon  a 
rock  and  gazing  into  heaven  (forming  the  head-piece  to  p.  6 of  the 
“America”)  has  some  analogies  with  the  present  design;  and  the 
following  lines  (one  of  which  has  been  given  by  way  of  title  above)  from 
its  accompanying  text  may  be  quoted  here  as  throwing  some  light  upon 
the  spirit  of  this  strange  invention  : — 


“ The  morning  comes.  . . . 

The  grave  is  burst.  . . . 

The  bones  of  death,  cov’ring  clay,  the  sinews  shrunk  & dry’d 
Reviving  shake,  inspiring  move,  breathing!  awakening! 

Spring  like  redeemed  captives  when  their  bonds  & bars  are  burst ; 
Let  the  slave  grinding  at  the  milk  run  out  into  the  field  ; 

Let  him  look  up  into  the  heavens  & laugh  into  the  bright  air ; 

Let  the  enchained  soul  shut  up  in  darkness  and  in  sighing 

Rise  and  look  out,  his  chains  are  loose,  his  dungeon  doors  are  open, 
Let  his  wife  and  children  return  from  the  oppressor’s  scourge.” 


90 


JOB  IN  PROSPERITY 
From  a lithograph,  c.  1807.  (23) 


23  (JOB  IN  PROSPERITY) 

Without  title.  W.  Blake  inv.  (c.  1807.)  Lithograph;  8^x  12^  in. 

Job,  an  ancient  patriarchal  figure  with  a long  beard,  sits  in  the  midst 
upon  a stone  seat;  his  eyes  are  upturned  and  his  outstretched  arms 
rest  upon  God’s  word,  which  lies  open  upon  his  knees.  Three  of  his 
children,  upon  some  steps  below  him,  are  engaged  in  the  arts  of  painting, 
poetry  and  music — “ the  three  powers  in  man  of  conversing  with  Paradise 
which  the  Flood  did  not  sweep  away.”  The  face  of  the  steps  is  decorated 
with  Gothic  ornament— Blake’s  symbol  of  true  art.  Guardian  angels 
hover  on  either  side.  A fruitful  vine  stem  climbs  up  each  side  of  the 
picture.  Above,  between  parting  clouds,  a flood  of  light  descends  from 
heaven. 

This  is  a specimen  of  poly  autography,  as  lithography  was  called  in  its 
early  days.  The  design  was  drawn  with  a pen  upon  the  stone  by  Blake 
himself  and  printed,  in  all  probability,  by  G.  T.  Vollweiler.  There  is  an 
example,  printed  on  cream-coloured  paper,  in  the  polyautographic  collection  1 
in  the  Print  Room.  Another  I have  seen  is  printed  on  brown  paper.  The 
date  of  this  lithograph  is  about  1 807.  It  is  the  only  one  designed  by  Blake. 


24  CHAUCER’S  CANTERBURY  PILGRIMS 

Painted  in  Fresco  by  William  Blake  & by  him  Engraved  & Published 
October  8,  1810,  at  N°.  28,  Corner  of  Broad  Street,  Golden  Square. 
Line  ; 1 i|x  37I  in. 

The  names  of  the  characters  represented  in  the  print  are  inscribed 
beneath  it,  as  follows : — Reeve.  Chaucer.  Clerk  of  Oxenford.  Cook. 
Miller.  Wife  of  Bath.  Merchant.  Parson.  Man  of  Law.  Plowman. 
Physician.  Franklin.  2 Citizens.  Shipman.  The  Host.  Sompnour.  Manciple. 
Pardoner.  Monk.  Friar,  a Citizen.  Lady  Abbess.  Nun.  3 Priests.  Squire’s 
Yeoman.  Knight.  Squire. 

For  an  account  of  the  print,  in  Blake’s  own  words,  see  his  two  Pro- 
spectuses, printed  in  the  Appendix  (Nos.  4 and  5) ; cp.  also  the  Preface  to 
the  illustrated  Pamphlet,  described  in  the  following  number,  also  printed 
in  the  Appendix  (No.  6).  The  original  painting  is  fully  described  by 
Blake  in  his  “Descriptive  Catalogue”  ( 1 809),  Number  III  ;2  it  is  uow  in  the 
possession  of  Sir  John  Stirling  Maxwell,  Bart.,  M.P.  The  print^  according 
to  Gilchrist,3  was  begun  by  Blake  “in  September  or  October  1809.” 
Early  impressions  of  the  print  are  the  best,  as  the  plate  was  later  reworked 

1 Vol.  i.  f.  93. 

2 See  Gilchrist’s  “ Life  ” (ed.  1880),  vol.  ii.  pp.  14.2-152. 

3 Ibid.  vol.  i.  p.  279. 


9T 


24  and  rendered,  as  Gilchrist  points  out, C(  rather  black  and  heavy  in  effect  ” ; 1 
these  later  impressions  lack  the  address,  which  follows  the  date  in  the 
imprint  of  the  original  issue,  and  have  the  line,  “We  gon  to  Canterbury 
God  wote  you  spede,”  added  below.  Blake’s  original  engraved  copper- 
plate is  still  in  existence,  and  modern  impressions  from  it  are  of  not 
infrequent  occurrence.  Examples  tinted  by  Blake  in  water-colours  are  to  be 
met  with  occasionally.  Mr  Robson  (bookseller,  of  23  Coventry  Street),  has 
one  so  tinted,  which  is  said  to  have  been  presented  by  Mrs  Blake  to 
Tatham. 


25  THE  PROLOGUE  AND  CHARACTERS  OF  CHAUCER’S 
PILGRIMS,  SELECTED  FROM  HIS  CANTERBURY  TALES: 
INTENDED  TO  ILLUSTRATE  A PARTICULAR  DESIGN  OF 
MR  WILLIAM  BLAKE,  WHICH  IS  ENGRAVED  BY  HIMSELF: 
and  may  be  seen  at  Mr  Colnaghi’s,  Cockspur  Street ; at  Mr  Blake’s, 
No.  28,  Broad  Street,  Golden  Square;  and  at  the  Publisher’s  Mr  Harris, 
Bookseller,  St  Paul’s  Church  Yard.  Price  two  shillings  and  sixpence. 
M.DCCC.XII. 

The  above  pamphlet  is  an  advertisement  of  Blake’s  large  plate  of  the 
Canterbury  Pilgrims,2  of  which  a section,  on  a reduced  scale,  appears  as 
the  frontispiece.  In  this  section,  the  gate  of  the  Tabard  Inn  is  shown, 
with  the  tail  end  of  the  procession  leaving  it.  The  names  of  the 
characters  represented  are  lettered,  as  follows,  below: — 
i Reeve.  Chattcer.  Oxford  scholar.  Cook.  Miller.  Wife  of  Bath.  Mer- 
chant. 

W.  Blake  inv.  & sc.  Publish’d  Deer.  26,  18 1 1 , by  Newberry,  St  Paul’s 
Ch  : Yard.  Line  ; qfV  X 2§  in. 

The  variations  from  the  corresponding  portion  of  the  large  plate  are 
trifling.  The  architecture  of  the  gateway  is  changed  in  some  details,  and 
the  inscription  upon  it  here  reads : — 

THE  TABARDE  INNE 

The  Lodgynge 

Henry  House  for 

Bailly  Canterbury 

Pilgrims  ” 

Blake’s  original  drawing  for  the  plate  was  sold  at  Sotheby’s  29th  April, 
1862  (Lot,  1 6 1 , £1,  2s.  Toovey). 

1 See  Gilchrist’s  “ Life”  (ed.  1880),  vol.  i.  p.  280. 

2 No.  24,  above. 


92 


Plate  13 

FRONTISPIECE  TO  “THE  PROLOGUE  AND  CHARACTERS 
OF  CHAUCER  S PILGRIMS."  1812.  (25  i) 


25  (Vignette  of  a Gothic  cathedral,  surrounded  by  trees. 
ii  At  the  foot  of  p.  58) 

The  accompanying  text  consists  of  a preface  (see  No.  6 in  the 
Appendix),  followed  by  a series  of  extracts  from  Chaucer’s  poem,  in 
illustration  of  Blake’s  design. 


26  (THE  CHAINING  OF  ORC) 

(Without  title.)  Type  by  W.  Blake,  1813.  Relief-etching;  41V  X3I  in. 

The  youthful  Ore,  son  of  Los  and  Enitharmon,  lies,  with  his  wrists  and 
ankles  riveted  to  a rock,  upon  a couch  of  fire  at  the  summit  of  Mount 
Atlas.  His  parents,  with  their  respective  emblems,  the  sun  and  the  moon, 
as  nimbuses  about  their  heads,  have  chained  him  “with  chains  of 
jealousy  ” and  now,  unable  to  release  him,  bend  over  him,  howling 
in  terror  and  despair.  The  dome  of  Golgonooza,  surmounted  by  a cross, 
appears  in  the  distance  to  the  left. 

The  same  subject  is  similarly  treated  on  p.  1.  of  Blake’s  “ America.”  For  the 
myth,  see  “The  Song  of  Los,”  p.  1,  1.  21  ; “ 1 Urizen,”  ch.  vii.  4; 
“ Vala,”  v.  11.  150-161.  Mr  W.  M.  Rossetti,  in  his  list  of  Blake’s 
engravings,1  erroneously  gives  the  subject  as  “Adam  and  Eve”  and  the 
date  1817.  The  British  Museum  has  Blake’s  original  pencil  sketch  for 
the  engraving,  with  the  composition  reversed  (measuring  4|x2tI  in.). 
It  is  lettered  by  Blake,  in  pencil,  “Chaining  of  Ore.”  (See  Laurence 
Binyon’s  “Catalogue  of  Drawings  by  British  Artists  ” (1898  vol.  1.  pp. 
129-130.  43.  15c.). 


27  (MIRTH  AND  HER  COMPANIONS.) 

(Without  title,  signature  or  date,  c.  1815-1820.)  Line  (and  stipple);2 
6|x4tI  in. 

The  subject  is  taken  from  Milton’s  “ L’ Allegro.” 

Mirth,  in  the  form  of  a bright  and  comely  girl,  trips  gaily  forward, 
in  the  midst  of  her  companions,  over  a grassy  plain.  She  is  clad 
diaphanously  with  a clinging  robe.  Her  hair,  bound  with  a fillet  about  her 
head,  falls  in  long  spiral  tresses  to  her  ankles.  A ring  of  faeries  encircles 

1 See  Gilchrist’s  “Life”  (ed.  1880),  vol.  ii.  p.  280. 

2 The  plate  exists  in  two  states  : — one,  pure  line,  as  that  from  which  the  reproduction  is  taken  ; the 
other,  worked  up  as  a stipple  engraving.  The  Linnell  collection  contains  an  example  of  the  second 
state,  in  which  the  lettering  below  is  deleted. 


93 


27  her  head,  which  is  also  surrounded  by  a radiant  glory.  Her  face  is  lit 
with  smiles.  At  each  side  of  her,  a pair  of  her  companions  follows  her, 
with  dancing  steps.  One  of  them  (1.),  “ the  Mountain  Nymph,  sweet 
Liberty,”  she  leads  by  the  hand.  A troop  of  mirthful  spirits,  among  whom 
are  to  be  seen  “ Sport  that  wrinkled  Care  derides  ” and  “ Laughter 
holding  both  his  sides,”  1 fills  the  air  around  her.  Beyond,  the  dawn 
bursts  with  an  explosion  of  light  into  the  heaven. 

Underneath  the  print  is  a faint  inscription  (the  last  part  illegible), 
as  follows  : — “ Solomon  says,  Vanity  of  Vanities,  all  is  Vanity  & What  can 
be  ( ? Foolisher)  than  ( ? this)  ?” 

Blake’s  original  drawing  of  the  “Mirth  and  her  Companions”  is  the  first 
of  a very  beautiful  series  of  twelve  small  designs  in  water-colour  made  by 
him  for  “L’Allegro”  and  “II  Penseroso.”  This  set  of  drawings 
appeared  in  the  Crewe  sale  and  is  now  the  property  of  Mr  Alfred 
White.  Each  of  them  is  accompanied  by  a slip  of  Blake’s  handwriting, 
giving  the  extract  from  the  poem  and  an  explanatory  note  on  the  design. 
That  attached  to  the  present  subject  reads  as  follows: — 

“ i . Mirth.  Allegro. 

“ ‘ Heart-easing  Mirth. 

Haste  thee,  Nymph  and  bring  with  thee 

The  mountain  Nymph  Sweet  Liberty.’ 

“ ‘ These  personifications  are  all  brought  together  in  the  First  Design, 
surrounding  the  Principal  Figure  which  is  Mirth  herself.’  ” Mr  Graham 
Robertson  has  a pencil  sketch  of  a female  figure  floating  among  clouds, 
inscribed  “ Mirth  ” in  Blake’s  writing. 


28  LAOCOON 

Drawn  & Engraved  by  William  Blake.2  (?  c.  1816-1817.)  Line; 

i°ix  8|. 

The  print  is  from  a cast  of  the  famous  antique  group.  The  drawing  done 
by  Blake  at  the  Academy,  for  the  print  of  Rees’s  “Encyclopedia” 
(1815-1816)  (see  105,  vi,  below),  doubtless  also  served  him  on  the 
present  occasion. 

The  subject  acquires  with  Blake  a mystical  significance,  and  is  character- 
istically inscribed  (below)  : — “ Jehovah  3 & his  two  Sons,  Satan  & Adam,4 

1 They  are  so  lettered  upon  the  print. 

2 Signed  upon  the  base  of  the  statue. 

3 The  Hebrew  symbol  is  here  used.  Blake’s  view  of  Jehovah  is  tinged  with  Gnostic  ideas. 

4 Satan  is  here  typical  of  Abstract  Morality  ; Adam  is  the  Natural  Man. 

9+ 


Pi, ATE  14 

MIRTH  AND  HER  COMPANIONS 

c.  1815-1820.  (27) 


28  as  they  were  copied  from  the  Cherubim  1 of  Solomon’s  Temple  by  three 
Rhodians  Sc  applied  to  Natural  Fact  or  History  of  Ilium.”  The  symbolical 
purpose  of  the  design  is  further  indicated  in  the  title  “The  Angel  of  the 
Divine  Presence  ” written  (with  the  Hebrew  characters  beneath  it) 
above  Laocoon’s  head,  and  in  the  attributes  “ Good  ” and  “ Evil  ” 
attached  respectively  to  the  two  serpents  on  either  side.  To  the  left  of 
Laocoon’s  head,  tc  Ophiouchos  ” 2 is  written,  in  Greek  letters,  and  there 
are  some  Hebrew  characters  in  the  space  above  his  left  hand. 

The  following  sentences  are  engraved  around  the  print 3 : — 

He  repented  that  he  had  made  Adam  (of  the  lemale,  the  Adamah)  8c  it 
grieved  him  at  his  heart. 

What  can  be  Created  Can  be  destroyed. 

Adam  is  only  The  Natural  Man  & and  not  the  Soul  or  Imagination. 

All  that  we  See  is  Vision  from  Generated  Organs  gone  as  soon  as  come. 
Permanent  in  The  Imagination  ; Considered  as  Nothing  by  the  Natural 
Man. 

Divine  Union  Deriding  and  Denying  Immediate  Communion  with  God, 
The  Spoilers  say,  Where  are  his  Works  That  he  did  in  the  Wilderness? 
Lo ! What  are  these  ? Whence  came  they  ? These  are  not  the  Works  of 
Egypt  nor  Babylon,  Whose  Gods  are  the  Powers  of  this  World,  Goddess, 
Nature  ; who  first  spoil  8c  then  destroy  Imaginative  Art.  For  their  Glory 
is  War  and  Dominion.  Empire  against  Art.  See  Virgil’s  Eneid, 
Lib.  vi,  v.  348. 

There  are  States  in  which  all  Visionary  Men  are  accounted  Mad  Men, 
such  are  Greece  Sc  Rome.  Such  is  Empire  or  Tax.  See  Luke  ch.  2,  v.  i. 
The  Gods  of  Greece  Sc  Egypt  were  Mathematical  diagrams.  See  Plato’s 
Works. 

Art  Degraded,  Imagination  Denied,  War  Governed  the  Nations. 

Satan’s  Wife,  The  Goddess  Nature,  is  War  Sc  Misery,  Sc  Heroism 
a Miser. 

Spiritual  War.  Israel  deliver’d  from  Egypt  is  Art  deliver’d  from  Nature 
Sc  Imitation. 

The  Gods  of  Priam  are  the  Cherubim  of  Moses  Sc  Solomon,  The  Hosts 
of  Heaven. 

What  we  call  Antique  Gems  are  the  Gems  of  Aaron’s  Breast  Plate. 
Hebrew  Art  is  called  Sin  by  the  Deist  Science. 

The  Old  Sc  New  Testaments  are  the  Great  Code  of  Art. 

The  Eternal  Body  of  Man  is  The  Imagination,  that  is  God  himself,  The 

1 I.e.  the  two  Cherubim  of  carved  and  gilded  olive  wood,  that  stood  on  either  side  the  Ark  within 
the  Oracle  of  Solomon’s  temple. 

2 =“  Holding  a serpent,”  the  name  of  a constellation  ; it  occurs  again  in  Blake’s  “ Milton,”  37,  51, 

3 The  sentences  are  inscribed,  with  little  regard  to  sequence,  here  and  there  over  the  whole  ground, 
of  the  print.  No  attempt,  therefore,  has  been  made,  in  transcribing  them,  to  preserve  the  actual  order  in 
which  they  stand  ; and  they  are  here  arranged,  as  far  as  may  be,  in  consecutive  form. 

95 


28  Divine  Body,  (Some  Hebrew  characters  are  written  here),  Jesus.  We  are 
his  Members.  It  manifests  itself  in  his  Works  of  Art.  (In  Eternity  All  is 
Vision). 

Jesus  & his  Apostles  & Disciples  were  All  Artists.  Their  Works 
were  destroy’d  by  the  Seven  Angels  of  the  Seven  Churches  in  Asia, 
Antichrist,  Science. 

The  unproductive  Man  is  not  a Christian,  much  less  the  Destroyer. 

A Poet,  a Painter,  a Musician,  an  Architect,  the  Man  or  Woman  who  is 
not  one  of  these  is  not  a Christian.  You  must  leave  Fathers  & Mothers  & 
Houses  & Lands  if  they  stand  in  the  way  of  Art. 

Prayer  is  the  Study  of  Art.  Praise  is  the  Practise  of  Art. 

Fasting  & c.  all  relate  to  Art.  The  outward  Ceremony  is  Antichrist. 

The  whole  Business  of  Man  Is  The  Arts  & All  Things  Common.  No 
Secrecy  in  Art. 

Without  Unceasing  Practise  nothing  can  be  done.  Practise  in  Art.  If  you 
leave  off  you  are  Lost. 

Art  is  the  Tree  of  Life.  God  is  Jesus.  Science  is  the  Tree  of  Death. 
Good  & Evil  are  Riches  & Poverty  & Tree  of  Misery  propagating 
Generation  and  Death. 

Christianity  is  Art  & not  Money.  Money  is  its  Curse. 

For  every  Pleasure  Money  Is  Useless. 

The  True  Christian  Charity  not  dependent  on  Money  (the  life’s  blood 
of  Poor  Families),  that  is  on  Caesar  or  Empire  or  Natural  Religion; 
money,  which  is  The  Great  Satan  or  Reason,  the  Root  of  Good  & Evil 
in  The  Accusation  of  Sin. 

Where  any  view  of  Money  exists  Art  cannot  be  carried  on,  but  War 
only  (Read  Matthew  c.  x,  9 & 10  v.) — by  pretences  to  the  Two  Impossi- 
bilities Chastity  & Abstinence,  Gods  of  the  Heathen. 

If  Morality  was  Christianity,  Socrates  was  the  Saviour. 

Is  not  every  Vice  possible  to  Man  described  in  the  Bible  openly  ? 

All  is  not  Sin  that  Satan  calls  so,  all  the  Loves  & Graces  of  Eternity. 

Art  can  never  exist  without  Naked  Beauty  displayed. 


29  ON  HOMER’S  POETRY  (&)  ON  VIRGIL 

(Without  title,  signature  or  date.  ? c.  1820.)  Relief  Etching ; 4^x3^  in. 

A single  leaf,  engraved  on  one  side  only,  consisting  of  an  enunciation  of 
aesthetic  principles  in  two  brief  notes  in  prose,  respectively  entitled  as 
above,  decorated  with  small  figures,  etc.1  The  only  example  seen  by  the 

1 See  Mr  Sampson’s  “Blake’s  Poetical  Works”  (1905),  p.  343. 

96 


29  writer 1 is  that  from  the  Crewe  collection,  now  in  the  possession  of 
Mr  W.  A.  White  (Brooklyn,  U.S.A.),  which  is  bound  up  with  examples 
of  “ The  Ghost  of  Abel  ” (p.  206,  below)  and  “ The  Man  sweeping  the 
Interpreter’s  Parlour”  (No.  31,  below).2  The  leaf  resembles  ‘‘The 
Ghost  of  Abel”  (dated  1822)  both  in  the  formation  of  its  writing  and 
in  the  character  of  its  decoration,  and  probably  belongs  to  about  the 
same  date.  It  is  one  of  the  pieces  called  by  Gilchrist  “ Sibylline  leaves,” 
and  said  to  have  been  “ now  and  then  put  forth  by  Blake.3 


30  THE  PASTORALS  OF  VIRGIL,  ILLUSTRATED  BY  230  EN- 
GRAVINGS. BY  ROBERT  JOHN  THORNTON,  M.D. 

Third  Edition.  London,  1821.  (2  vols.  1 2mo.) 

Among  the  illustrations  are: — 1.  Seventeen  woodcuts  by  Blake,  for  the 
Imitation  of  Eclogue  I.  by  Ambrose  Phillips;  facing  pp.  13,  14,  15,  16 
& 1 8 of  voh  i.  2.  Three  woodcuts  by  an  unknown  hand,  from  designs  by 
Blake,  illustrative  of  the  three  “Comparisons”  in  the  last  stanza  but  one 
of  the  same;  facing  p.  17  of  vol.  i.  3.  An  engraving  by  Byfield  from  a 
drawing  by  Blake  of  a figure  of  Polyphemus  by  Nicolas  Poussin ; facing 
p.  21  of  vol.  i.  4.  Portraits  of  Theocritus,  Virgil,  Augustus,  Agrippa, 
Pollio,  Gallus,  Varus,  Maecenas,  Caesar  and  Epicurus,  engraved  by 
Blake,  from  antique  busts  and  coins ; facing  pp.  3 & 4 of  vol.  i.,  and 
pp.  229  & 360  of  vol.  ii. 

i (Thenot  and  Colinet.)  Frontispiece.  To  face  page  13.  2§x3j  in. 

The  young  Colinet,  crook  in  hand,  leans  sorrowfully  against  a tree  (r.), 
upon  which  his  shepherd’s  pipe  hangs.  Thenot,  a bearded  old  man,  stands 
(1.)  reproaching  him.  The  sheep  are  grazing  between  them.  In  the 
distance,  a hut,  with  the  sun  just  appearing  over  a hill. 

The  following  apology  for  the  woodcuts  is  printed  below  the  frontis- 
piece : — “ The  Illustrations  of  this  English  Pastoral  are  by  the  famous 
Blake,  the  illustrator  of  Young’s  ‘Night  Thoughts,’  and  Blair’s 
‘Grave’;  who  designed  and  engraved  them  himself.  This  is  mentioned, 
as  they  display  less  of  art  than  genius,  and  are  much  admired  by  some 
eminent  painters.”  The  painters  alluded  to  are  Lawrence,  James  Ward, 
Linnell  and  others. 

1 Another  example  was  included  in  a volume  of  miscellaneous  sketches  and  engravings  by  Blake  sold  in 
Messrs  Sotheby’s  rooms  on  9th  Dec.  1905  (Lot  921,  No.  22)  and  resold  in  the  same  place  on  15th  Dec. 
1906  (Lot  482,  No.  22). 

2 Shown  at  the  Grolier  Club  Exhibition  of  works  by  Blake  (1905  ; No.  37  in  the  Catalogue). 

3 See  “The  Life  ” (ed.  1880),  vol.  i.  p.  294. 


G 


97 


30  ii.,  iii.,  iv.  & v.  To  face  page  14.  (Four  cuts  ou  one  page.) 

ii  (Colinet) 

ItVx  2xf  in. 

Colinet  stands  near  a tree  (r.),  with  his  arms  languidly  uplifted.  Thenot, 
with  outstretched  hands,  remonstrates  with  him  (1.).  The  sun  rises 
behind  the  hills. 

iii  (Thenot) 

1 \ x 2-ff  in. 

Colinet  reclines  against  a tree  trunk  (r.).  Thenot  sits  beneath  a fruit 
tree  (1.),  with  uplifted  arms.  The  sun  has  risen  over  the  hills. 

iv  (Colinet  and  Thenot) 
ifVx  2|  in. 

Thenot  (r.).  and  Colinet  (1.),  both  with  shepherd’s  crooks,  lean  against 
trees.  Lightfoot,  with  his  dog,  tends  the  straying  ewes  upon  the  hills  in 
the  background.  Daylight. 

v (Colinet) 

1 tw  X 2 in. 

Thenot  stands  (1.)  ; Colinet,  by  him,  sways  his  arms  in  sorrow.  To  r.  is 
the  “ riven  trunk.” 

vi.,  vii.,  viii.  & ix.  To  face  page  15.  (Four  cuts  on  one  page.) 

vi  (Thenot) 
tt56X21  im 

To  1.  the  blasted  tree;  flattened  crops,  beyond.  Night,  with  the  moon 
eclipsed. 

vii  (Thenot) 
i|x2|  in. 

The  shepherd  chases  away  a wolf  from  his  sheep-folds.  A dead  sheep 
lies  at  his  feet.  A fox  lurks  to  1. 

viii  (Colinet) 
i|x  2§  in. 

Sabrina’s  “ silvery  flood  ” winds  among  pastures.  Sheep  to  1.,  and  a hut 
among  trees  (r.) 

ix  (Colinet) 

1 f X 2ff  in. 

Colinet  (1.)  wanders  along  a road  which  winds  among  hills.  Near  him 

98 


Plate  15 

i.  THE  BLASTED  TREE.  ii.  "A  ROLLING  STONE,'  ETC. 
iii.  “FOR  HIM  OUR  YEARLY  WAKES  AND  FEASTS  WE  HOLD 
Thornton’s  “Virgil,”  1821.  (30,  vi,  x N xiii) 


30  (r.)  is  a milestone,  marked  “ LXI  Miles  to  London.”  A sign  post,  beyond, 

ix  and  in  the  distance,  a church  steeple. 

x.,  xi.,  xii.  & xiii.  To  face  page  1 6. 

x (Thenot) 

1 ¥ x 3^  in. 

For  “A  rolling  stone  is  ever  bare  of  moss.”  A youth  rolls  a path  in 
front  of  a house. 

xi  (Colinet) 

1^x3  in. 

Colinet,  by  night,  rests  upon  the  greensward  up  against  a willow  trunk. 
To  1.,  a winding  stream,  over  which  a crescent  moon  shines. 

xii  (Colinet) 

rt  X3At  in* 

Colinet,  with  his  shepherd’s  pipe,  walks  among  trees  (r.)  To  1.,  two 
boys  are  mocking. 

xiii  (Thenot) 

^IxdxV  in* 

Three  women  dance  (1.).  Menalcas,  with  his  wife  and  two  children, 
watch  them  (r.).  In  the  background,  a classical  building. 

xiv.,  xv.,  xvi.  & xvii.  To  face  page  18. 

xiv  (Thenot.  To  illustrate  lines  i,  2) 
ifx  3 in. 

Thenot  and  Colinet  lead  their  sheep  into  the  folds  together  (1.).  A hut 
beyond.  In  the  background,  the  sun  sinks  behind  hills. 


xv  (3,  4,  5,  6) 

1 1 x 3tV  in- 

Thenot  and  Colinet  eat  their  evening  meal  together  in  a hut. 

xvi  (7>  8>  9) 
l%X3j\  in* 

Boys  joyfully  returning  with  oxen  and  plough.  The  sun  sinks  on  the 
horizon. 

xvii  (10) 

it«  X 3xV  in- 

99 


30  “The  unyolked  heifers,  loitering  homeward,  low.”  They  are  led  by  a 

xvii  boy. 

xviii.-xx.  (The  three  Comparisons.)  To  face  page  17. 

xviii  First  Comparison.  Birds  flying  over  a cornfield 

xix  Second  Comparison.  Ships  on  the  ocean 

xx  Third  Comparison.  A winding  river 

The  woodcuts  do  not  appear  in  either  of  the  two  previous  editions  of 
the  “ Pastorals.”  For  the  present  edition,  Blake  made  a series  of  twenty-one 
india  ink  drawings,1  seventeen  of  which  he  cut  with  his  own  hand  upon  the 
wood-blocks.  These  productions  were  at  once  decried  by  the  other  engravers 
employed  upon  the  book,  and  the  whole  of  them  were  in  imminent  danger 
of  being  rejected,  when  a timely  warning  came  from  the  above-mentioned 
painters;  but  it  was  not  before  one  of  them  (No.  iii.)  had  been  recut  by 
another  hand.  In  the  end,  although  he  was  not  permitted  to  complete  the 
set  himself,  the  seventeen,  as  originally  cut  by  Blake,  were  published  in 
the  book  ; but  not,  it  is  said,  without  some  ruthless  trimming  of  the  blocks 
to  make  them  fit  the  page.  The  engraver’s  “ improved  ” version  of  No.  iii. 
may  be  seen  side  by  side  with  Blake’s  own  cut  (as  published)  in  “The 
Athenmum”  for  2 1 st  January  1 843,  p.  65,  where  it  will  be  perceived  that  the 
former  still  retains  enough  of  Blake’s  imagination  to  be  immeasurably  less 
ridiculous  than  the  three  for  the  three  “Comparisons”  which  were  entirely 
removed  from  his  hands.  Three  of  the  cuts,  Nos.  v.,  vi.  & ix.,  were 
reprinted  from  the  original  blocks  in  vol.  i.  of  Gilchrist’s  “ Life  ” (ed. 
1880),  facing  p.  320.  The  whole  seventeen  were  fairly  well  reproduced 
by  the  Unicorn  Press,  with  an  excellent  introduction  by  Laurence  Binyon.2 
They  were  also  done,  better,  by  Thomas  B.  Mosher  (Portland,  Maine, 
U.S.A.).  Some  beautiful  little  woodcuts  were  executed  by  the  painter, 
Edward  Calvert,  in  imitation  of  Blake’s  series. 

xxi  The  Giant  Polypheme.  From  a Famous  Picture  by  N.  Poussin. 
(Facing  p.  21,  vol.  i.) 

Blake,  del.  Byfield,  sculps. 

1 Twenty  of  the  drawings,  including  one  which  was  never  cut,  are  in  the  possession  of  the  Linnell 
family.  They  may  be  counted  among  the  loveliest  of  all  Blake’s  drawings.  They  are  thus  described  in 
a letter  (dated  21st  Dec.  1862)  from  John  Linnell  Jun.  to  W.  Rossetti,  printed  in  the  “ Rossetti  Papers  ” 
(compiled  by  W.  M.  Rossetti,  1903,  p.  20): — “ There  are  twenty  original  drawings  by  Blake  illustrat- 
ing the  poem  by  Phillips  in  Thornton’s  Virgil  (I  forgot  to  show  you  these  drawings).  They  are 
delicately  executed  in  India  ink,  more  or  less  finished  ; a trifle  larger  than  the  wood-engravings,  and 
occasionally  slightly  varying  from  them.  . . . One  of  these  drawings  (subject,  the  two  shepherds 
standing  together,  and  sheep  etc.  behind,  same  size  as  the  others)  is  not  engraved.  We  have  no  draw- 
ing of  the  larger  block  engraved  by  Blake,  given  in  Thornton,  as  frontispiece.”  Blake’s  original  wood- 
blocks belong  also  to  the  Linnell  family.  The  remaining  drawing  (for  the  frontispiece)  is  lost. 

2 “ Little  Engravings  Classical  and  Contemporary,”  Number  II.  William  Blake,  M.DCCCC.II. 


IOO 


the  MAN  SWEEPING  THE  INTERPRETER'S  PARLOUR 


30  The  original  painting  by  Nicolas  Poussin  is  now  in  the  Hermitage 

xxi  gallery ; the  composition  is  reversed  in  the  print. 

xxii.-xxvii.  Ten  portraits,  each  with  a brief  biographical  note  engraved 
below. 

xxii  Theocritus.  (Facing  p.  3) 

Blake,  del.  et  sculp.  London,  Published  by  Dr  Thornton,  1821. 
3ff  x in. 

Bust  of  a bearded  man,  in  profile,  facing  r. 

xxiii  Publius  Virgilius  Maro.  (Facing  p.  4) 

Same  imprint  as  No.  i.  4X  2|  in. 

Bust  of  a beardless  youth,  with  long  hair,  £ face,  looking  towards  1. 

xxiv  Octavius  Augustus  Caesar.  (Following  the  Virgil) 

Same  imprint  as  No.  i.  5x3!  in. 

Bust  of  a shaven  man,  profile  facing  1. 

xxv  A group  of  five  medallions  “ From  Antique  Coins.”  Bust  of  the  young 
Agrippa,  with  heads  of  Pollio,  Gallus,  Varus  and  Maecenas  at  the 
corners.  (Following  the  above.) 

Blake  del.  et  sculp.  54X3JI  in. 

The  bust  of  Agrippa,  nearly  full  face,  is  surrounded  by  a laurel  wreath. 

xxvi  Caius  Julius  Caesar.  (Facing  p.  229,  vol.  ii.) 

Blake,  del.  et  sculp.  London,  Published  by  Dr  Thornton,  1821. 

4rf  x 3t56  in* 

Bust,  profile  facing  1.  The  most  striking  of  the  portraits,  somewhat 
similar  in  character  to  the  “ Visionary  Heads.” 

xxvii  Epicurus.  (Facing  p.  360,  vol.  ii.) 

Same  imprint  as  above.  4TVX2£  in. 

Bust,  full  face. 

31  (THE  MAN  SWEEPING  THE  INTERPRETER’S  PARLOUR) 
(Without  title.)  Signed,  W.  B.  inv.  (?  c.  1822.) 

? “Woodcut  on  pewter”  (see  p.  32);  3^x6tV  in. 

An  ancient,  demon-like  figure  (r.),  with  huge  dragon’s  wings,  and  with 
dishevelled  hair  and  beard,  sweeps  vehemently  into  the  air  a thick  cloud 


101 


31  of  dust,  peopled  by  evil  spirits  of  diminutive  form.  A radiant,  winged 
damsel  descends  some  steps  (1.)  and  lays  the  dust  by  sprinkling  water 
from  a bowl.  A flood  of  light  enters  the  room  behind  her. 

One  of  the  rarest  as  well  as  one  of  the  most  beautiful  of  all  Blake’s 
prints.  An  example  of  it  was  prefixed  as  frontispiece  to  the  Crewe  copy 
of  “The  Ghost  of  Abel”  (dated  1822)  ; so  it  is  likely  to  have  been  pro- 
duced about  the  same  time  as  the  latter.  We  know  that  Blake’s  young 
disciples  at  the  end  of  his  life  used  to  speak  of  his  home  as  “ The  House 
of  the  Interpreter.”  An  example  of  the  print  in  the  Linnell  Collection 
(prefixed  to  a copy  of  the  “ Poetical  Sketches  ” presented  to  Linnell  by 
Cumberland),  is  characteristically  inscribed  (in  pencil)  in  Blake’s  own 
hand  : — “ The  parable  of  the  relapsed  sinner  & her  7 Devils.” 

32  REMEMBER  ME!  A NEW  YEAR’S  GIFT  OR  CHRISTMAS 
PRESENT 

London,  I.  Poole.  8 Newgate  Street.  1825.  (i2ino.) 

Contains,  among  numerous  engravings,  the  “ Hiding  of  Moses,”  by  Blake, 
accompanied  by  nearly  4 pp.  of  letterpress,  pp.  32-35. 

Blake  del.  et  sculpt.;  Line  3!! X 2}}  in. 

Moses,  asleep  in  a wicker  cradle,  is  laid  among  bulrushes  at  the  river’s 
edge.  The  mother  on  the  bank  swoons  into  her  husband’s  arms.  A palm- 
tree  (r.)  overshadows  them.  Miriam  stands,  on  the  look  out,  beyond,  upon 
some  steps  leading  down  to  the  river,  upon  the  lowest  of  which  is  a 
Sphinx.  The  river  winds  over  the  plain  into  the  distance.  In  the  back- 
ground are  the  pyramids  and  some  other  buildings. 

The  design  is  Blake’s  own  and  may  be  that  of  the  tempera  picture  “ Moses 
placed  in  the  Ark  of  Bulrushes,”  which  is  among  the  number  of  those 
lost  from  the  Butts  collection;  it  is  described  by  Gilchrist1  as  follows: — 
“ The  mother  swoons  into  her  husband’s  arms ; the  sister  is  on  the 
watch,  to  give  warning  of  any  interruption.  The  Pyramids  are  prominent 
in  the  background.”  The  actual  drawing  (done  in  water-colours  and 
measuring  it^X  1 5 § in.),  from  which  the  print  was  engraved,  is,  there- 
fore, likely  to  be  a replica  of  the  above;  it  was  executed  for  Linnell  and 
is  still  in  the  possession  of  the  Linnell  family. 

33  ILLUSTRATIONS  OF  THE  BOOK  OF  JOB,  IN  TWENTY-ONE 
PLATES,  INVENTED  AND  ENGRAVED  BY  WILLIAM  BLAKE, 
AUTHOR  OF  THE  DESIGNS  TO  “ BLAIR’S  GRAVE,”  “YOUNG’S 
NIGLIT  THOUGHTS,”  &c. 

London : Published  by  the  author,  3 Fountain  Court,  Strand,  and 

1 The  “ Life”  (ed.  1880),  vol.  ii.  p,  235,  No.  137. 

102 


33  Mr  J.  Linnell,  6 Cirencester  Place,  Fitzroy  Square.  March,  1826.  Prints 
£ . . . Proofs  £ . . d (Folio). 

The  above  title  is  from  the  printed  label  upon  the  cover  of  the  volume. 
Each  of  the  designs  is  enclosed  within  an  ornamental  border,  which  is 
variously  decorated,  and  inscribed  with  verses  or  portions  of  verses  (often 
inaccurately  quoted)  from  the  Bible.  The  measurements,  both  with  and 
without  the  margin,  are  given  in  each  case  separately  below.  The  prints 
are  all  engraved  in  line. 

i Illustrations  of  The  Book  of  Job.  Invented  & Engraved  by  William 
Blake,  1825.  (Title  page) 

London:  Published  as  the  Act  directs  March  8:  1825  by  William  Blake 
No.  3 Fountain  Court,  Strand.  7§X5it  in.;  5x3^  in. 

The  title  ( “ Book  of  Job  ” ) is  also  given  in  Hebrew  characters,  at  the 
head  of  the  page.  Seven  angels  with  scrolls  form  a decorative  figure, 
resembling  a pair  of  uplifted  wings,  around  the  lower  part  of  the  page. 

ii  Thus  did  Job  continually.  (Job,  i.  5.)  (PI.)  1 

W.  Blake  inv.  & sculp.  London : Published  as  the  Act  directs,  March  8 : 
1828  2 (sic)  by  Will”1.  Blake,  N.  3 Fountain  Court,  Strand.  7tVx5§  in. ; 
3ix  qf  in. 

Job  and  his  wife,  with  his  seven  sons  and  three  daughters,  are  met 
together  in  prayer  beneath  a huge  oak  tree.  The  aged  pair  are  seated 
side  by  side  in  the  midst  before  the  trunk  of  the  tree  ; the  patriarch’s 
eyes  are  reverently  upturned  and  his  wife’s  hands  are  clasped.  The  Word 
of  God  lies  open  upon  their  knees.  Their  daughters  kneel  in  front  of 
them,  and  their  sons,  each  with  his  shepherd’s  crook,  on  either  side.  A 
number  of  musical  instruments  hang  upon  the  tree  above  their  heads. 
A pair  of  rams  and  some  sheep  repose  upon  the  ground  in  front,  and  the 
meadows,  beyond,  are  filled  with  a multitude  of  sheep.  In  the  background, 
to  1.  is  a Gothic  Cathedral  and  to  r.  a group  of  huts.  The  sun  sinks  (1.) 
behind  distant  hills  and  a crescent  moon  rises,  with  a bright  star  near  it 
(r.).  In  the  margin,  the  first  petition  of  the  Lord’s  Prayer  is  inscribed, 
above,  upon  overarching  clouds.  At  the  foot  of  the  page  is  a burning 
altar,  with  ram’s  heads  at  the  ends,  inscribed  with  II  Cor.  iii.  6 and  I Cor. 
ii.  14.  On  either  side  of  the  altar  the  first  two  verses  of  the  Book  of 
Job  are  written.  A ram  (r.)  and  a bull  (1.)  repose  at  each  corner  upon 
the  ground. 

1 The  usuai  publisher’s  prices  were  five  guineas  for  India  proofs,  four  guineas  for  proofs,  and  three 
guineas  for  ordinary  copies.  Proof  copies  are  so  marked  upon  each  print. 

2 In  error  for  1825. 


103 


83  When  the  Almighty  was  yet  with  me,  When  my  Children  were 
iii  about  me.  (xxix.  5.)  (PI.)  2 

W.  Blake  inv.  & sc.  London  : Published  as  the  Act  directs  March  8 : 
1825  by  Will"1.  Blake  N.  3 Fountain  Court,  Strand.  7 §x  5!  in.;  5§x  4xV  in. 

In  the  lower  part  of  the  design,  Job,  sitting  out  of  doors  upon  a long 
bench  or  couch,  with  his  wife  at  his  side,  is  visited  by  two  scroll-bearing 
angels  (I.),  to  whom  he  displays  the  book  of  God’s  Word.  A group  of  his 
children  (r.),  engaged  in  reading,  are  arrested  in  their  pursuit  by  the 
presence  of  the  angels.  Beneath  the  bench,  upon  which  several  of  them 
repose,  is  a row  of  books,  and,  close  to  Job’s  feet,  a slumbering  dog. 
Some  sheep  feed  to  1.  There  is  a landscape  background,  with  three  vine- 
wedded  trees  in  front  and  hills  in  the  distance.  In  the  heaven,  above,  the 
clouds  roll  apart  like  scrolls,  revealing  a vision  of  the  Almighty,  enthroned 
on  high  and  surrounded  by  a vesica-shaped  glory  of  white  light,  with  the 
Divine  Word  upon  his  knees.  Angels,  bending  on  either  side  of  the 
throne,  lay  at  his  feet  the  story  of  Job’s  life.  At  the  foot  of  the  throne 
(in  the  middle  of  the  design),  is  the  figure  of  Satan,  presenting  himself 
before  the  Lord.  He  advances  at  long  strides,  enveloped  in  a sheet  of 
flame  in  which  the  phantasmal  shapes  of  Job  and  his  wife  are  dimly 
reflected.  His  face  is  upturned  towards  the  Almighty  who  points  to  the 
record  of  Job’s  righteousness  laid  at  his  feet.  Three  other  “Sons  of  God” 
accompany  Satan  before  the  throne,  two  on  his  right  hand  and  one  on 
his  left.  In  the  margin,  beneath,  is  a pastoral  scene,  with  a shepherd  (r). 
and  a shepherdess  (1.),  folding  their  sheep.  The  design  is  overarched  by 
a trellis-work  of  conventionalised  vine  stems,  where  divers  kinds  of  birds 
roost  and  make  their  nests.  High  up  at  the  sides,  angels  bend  over  a 
pinnacle  of  flame  (r.)  and  a pillar  of  smoke  (1.).  At  the  top,  the  words, 
“The  Angel  of  the  Divine  Presence”  and  (in  Hebrew  characters) 
“ Jehovah  is  King”  are  inscribed  above  the  figure  of  the  Almighty.  For 
the  marginal  verses  see: — Dan.  vii.  19;  Job  ii.  3;  xix.  26;  Is.  lxiii. 
16  ; Ps.  xvii.  1 5 ; Job  ii.  1. 

Mr  F.  W.  Bourdillon  has  a tinted  pen  drawing  (18x24  in.)  by  Blake, 
somewhat  resembling  the  lower  portion  of  this  design  ; it  belongs,  how- 
ever, to  a much  earlier  period. 

\\  Thy  Sons  and  thy  Daughters  were  eating  & drinking  Wine  in 

THEIR  ELDEST  BROTHER’S  HOUSE  (i.  1 8).  (Pi.)  3 

W.  Blake  inven.  & sculp.  London : Published  as  the  Act  directs  March  8 : 
1 8 25 by  Willm.  Blake  No.  3 Fountain  Court,  Strand.  7f  X 6 in. ; 5xVx  4xV  in. 
The  design  is  crowned  by  the  figure  of  Satan,  with  huge  bat-like  wings 
outspread,  darkly  contrasting  with  a flickering  background  of  lightning 


e 


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invent 


Proof 


London. . ru.blt.3k0d.  J.s  the  /-zf  dirr'.ts  Tv turh  S Jc2-*  by  l 'LjI-'J'o,  /V '3  fr-futaux.  (Z'ourt.  St>‘cmd. 


\Ve  Oxenwre  ?\owm«  & the.  5atearjy  f 


<nv 


And  S only  am  escaped  alone  to  tel ! thee. 


Plate  17 


Job  i,  15  (33  v) 


33  and  flames ; his  malice-brooding  features  are  lit  with  reflected  fire,  and  a 

iv  rayed  light  encircles  his  head.  Crouching  low  down  upon  his  ankles,  he 
presses  hard  upon  the  cornices  and  capitals  of  the  house  where  the 
family  of  Job  are  assembled,  throwing  it  in  ruins  and  strewing  it  with 
seeds  of  fire.  A panic-stricken  group  of  men  and  women  huddled 
together  upon  the  ground  beneath  him,  is  overwhelmed  by  falling 
masonry  or  caught  by  the  advancing  conflagration,  which  casts  a grim 
light  upon  the  tortured  bodies  of  all.  In  the  midst  of  them,  a strong, 
youthful  figure  rises  up,  carrying  upon  his  shoulders  a little  child  whom 
he  bravely  seeks  to  save,  but  the  staggering  bulk  of  a massive  pillar 
threatens  instantly  to  crush  him.  The  margin  is  filled  with  clouds  of 
smoke  which  partly  conceal  the  folds  of  a vast  serpent  writhing  in 
flames  behind  them.  A scorpion  crawls  at  each  of  the  corners  below.  For 
the  marginal  verses,  see  Job  i.  2,  16  & 19. 

v And  I only  am  escaped  alone  to  tell  thee  (i.  15).  (PI.)  4 

W.  Blake  invent.  & sculp.  London : Published  as  the  Act  directs, 
March  8:  1825  by  Willm.  Blake  N°.  3 Fountain  Court,  Strand. 
7f  x 5!  in.;  3|X4|  in. 

A running  messenger  (1.)  bearing  news  of  disaster  comes  before  Job, 
who  sits,  with  his  wife  at  his  side,  beneath  a tree  (1.)  in  front  of  two 
Druid  pillars.  Job’s  hands  are  folded  and  his  face  is  upturned  in  speechless 
affliction ; and  his  wife’s  arms  are  uplifted  in  despair.  Some  sheep  graze 
peacefully  close  to  them.  A second  messenger,  swiftly  following  upon 
the  other’s  heels,  appears  in  the  distance.  In  the  background  is  a Gothic 
Cathedral  at  the  foot  of  some  mountains.  The  margin  is  decorated,  below 
and  at  the  sides,  with  flames.  At  the  top,  Satan,  with  uplifted  wings  and 
holding  a sword,  stands  triumphant  upon  the  earth’s  rim.  At  each  of  the 
upper  corners  of  the  design  is  the  prostrate  form  of  an  angel.  For  the 
marginal  verses,  see  Job  i.  14  8c  15;  ii.  2;  i.  16. 

Mr  Graham  Robertson  has  a pencil  sketch  (8^x5  in.)  for  the  figure  of 
Satan  in  the  margin  of  this  design;  the  figure  is  there  in  reverse  and  is 
without  wings. 

vi  Then  went  Satan  forth  from  the  presence  of  the  Lord  (ii.  7). 

(P1-)  5 

W.  Blake  inventor  Sc  sculp.  London : Published  as  the  Act  directs 
March  8:  1825,  by  Will"1.  Blake  No.  3 Fountain  Court,  Strand. 
7t  x 5f  in- ; 5i%x  4jL-  in. 

The  incident  here  depicted  in  the  lower  part  of  the  design  is  not 
contained  in  the  biblical  narrative.  The  grief-stricken  Job,  who  sits  beside 
his  wife  on  a stone  bench  out  of  doors,  shares  his  meal  with  a blind 

io5 


33  beggar  who  approaches  on  crutches  (r.),  led  by  a little  dog.  An  angel 

vi  with  folded  hands  hovers  on  either  side  of  the  group.  In  the  background 
is  a cromlech,  with  mountains  in  the  distance.  In  the  heaven,  above,  the 
Almighty  upon  his  throne  is  visibly  moved  by  compassion.  Groups  of 
angels  on  either  side  shrink  back  in  horror  as  they  behold  the  form  of 
Satan  descending  headlong  amid  flames  in  the  midst,  bearing  a vial  filled 
with  disease  which  he  empties  upon  Job’s  body.  The  marginal  decoration 
consists  of  a pair  of  serpents  writhing  in  flames  below,  with  their  tails 
wound  round  a tangled  growth  of  cactus  and  vine-stems  at  the  sides. 
At  each  of  the  upper  corners  of  the  design  is  a downward-gazing  angel. 
For  the  marginal  verses,  see  Job  xxx.  25;  ii.  6 ; Gen.  vi.  6;  Ps.  civ.  4. 

vii  And  smote  Job  with  sore  Boils  from  the  sole  of  his  foot  to  the 
crown  of  his  head  (ii.  7).  (PI.)  6 

W.  Blake  inv.  & sc.  London,  as  the  Act  directs.  Published  March  8 : 
1825  by  William  Blake  No.  3 Fountain  Court  Strand.  7fx5|-  in; 

3xf  x 4|  in. 

Satan  stands,  triumphant  in  malice,  upon  Job’s  body,  which  is  stretched 
in  extreme  suffering  upon  a bed  of  straw,  in  front.  The  loathsome 

disease  issues,  like  a scourge  of  flame,  from  a vial  in  the  tormentor’s 

left  hand,  and  from  his  right  there  descends  a sheaf  of  fiery  arrows;  an 
opaque  burning  globe  makes  a glory  about  his  head,  and  thick  clouds  of 
smoke  accompany  him  behind.  Job’s  wife  kneels  at  his  feet  (1.)  with 
bowed  head  and  with  her  face  buried  in  her  hands.  There  is  a landscape 
background,  with  grassy  hills  and  various  buildings,  and  a mountain  in 

the  distance ; and,  to  1.,  the  sun  sinks  into  the  sea.  In  the  margin, 

below,  is  a piece  of  waste  ground,  overgrown  with  thistles  and  other 
weeds;  a toad  emerges  from  a hole  (r.),  and  to  1.  at  the  foot  of  some 
steps  a cricket  creeps  between  a broken  sherd  and  fragments  of  a 
shepherd’s  crook.  At  each  of  the  upper  corners  of  the  design  is  a demon, 
with  spiny  wings,  lowering  a spider  by  its  thread  to  the  ground.  The  top 
of  the  design  is  inscribed  with  Job  i.  21. 

A tempera  painting  on  panel  of  this  subject,  differing  from  the  print  in 
the  figure  of  Satan,  who  is  there  depicted  with  wings,  and  in  certain 
other  particulars,  was  in  the  possession  of  the  late  Sir  Charles  Dilke ; it 
is  a remarkably  fine  work  both  in  drawing  and  colour. 

viii  And  when  they  had  lifted  up  their  eyes  afar  off  & knew  him 

NOT,  THEY  LIFTED  UP  THEIR  VOICE  & WEPT  (ii.  1 2).  (PI.)  J 

W.  Blake  inven.  & sculpt.  London:  Published  as  the  Act  directs 
March,  8:  1825  by  William  Blake,  N.  3 Fountain  Court  Strand. 

711 x 5f  in;  3tx4  in- 


106 


London  as- /let  duvets  P’j.bliShs.d  March  S.  182.5  by  WUluu^BLaAr  /V‘J  Foun.ttK,.,x  Court  -Strum*. 


P -ocif 


And  smote  Job  with  sore  JBosls 
l*  om  ihe  sole  of  his  foot  to  tke  crown  of  Ins  head 


Plate  jS 

Job  ii,  7.  (33  vii) 


Plate  19 

Job  iv,  15.  (33  x) 


33  Job  sits,  overcome  with  affliction,  upon  a bed  of  straw  at  the  corner  of 
viii  a building  (r.).  His  suffering  body  is  supported  by  his  wife,  who  stands 
behind  him,  holding  up  her  hands  in  a despairing  gesture.  His  three 
friends,  who  are  ancient,  bearded  figures,  advance  together  (1.),  with 
upraised  hands  and  mournful  looks.  In  the  background  is  a city  built 
upon  the  side  of  a mountain,  behind  which  are  seen  the  last  rays  of  the 
setting  sun.  In  the  lower  part  of  the  margin  is  a pastoral  scene ; an  aged 
shepherd  (r.),  with  two  sheep  beside  him,  and  a shepherdess  (I.),  with 
a dog,  lean  against  trees,  asleep.  At  each  of  the  upper  corners  of  the 
design  is  seated  the  bowed  figure  of  an  angel.  For  the  marginal  verses, 
see  Job  ii.  i o & 12;  Jas.  v.  1 1 . 

ix  Let  the  day  perish  wherein  I was  Born  (iii.  3).  (PI.)  8 

W.  Blake  inv.  & sculp.  London:  Publish’d  as  the  Act  directs  March  8 : 
1825  by  Will"1.  Blake  N°.  3 Fountain  Court,  Strand.  7|x5J|.  in.; 
3 If  x 4s  in. 

Job  is  seated  in  the  midst,  overwhelmed  by  grief,  upon  a bed  of  straw ; 
tears  roll  from  his  eyes  and  his  hands  are  uplifted  in  a gesture  of  utter 
despair.  His  wife  (1.)  kneels  by  his  side,  bowed  in  mourning  and  with 
her  hair  falling  over  her  face  to  her  feet;  on  the  other  side  are  the 
bowed  kneeling  figures  of  his  three  friends.  To  r.  is  a Druid  arch  of 
huge  stones.  There  is  a background  of  dark  mountains,  with  a night 
sky  above.  In  the  margin  below  is  a waste  place  filled  with  rank  growths 
of  cactus,  fungus,  etc.  For  the  marginal  verses,  see  Job  ii.  13;  iii.  7. 

x Then  a Spirit  passed  before  my  face;  the  hair  of  my  flesh  stood 
up  (iv.  15).  (PI.)  9 

W.  Blake  invenit  & sculp.  London:  Published  as  the  Act  directs 
March  8:  1825  by  William  Blake  N.  3 Fountain  Court  Strand. 

7tx  5xf  irM  5ff  x 3 ft  in- 

In  the  lower  part  of  the  design,  Eliphaz,  kneeling  upon  the  ground  (r.), 
holds  up  his  hand  in  a reproving  gesture  as  he  tells  to  Job  his  vision  of 
the  Almighty.  The  latter,  crouched  upon  a bed  of  straw  in  the  midst, 
listens  with  upturned,  wondering  eyes.  His  wife  kneels  by  his  side 
(1.),  and  his  two  other  friends  kneel  a little  behind  Eliphaz  on  the  r. 
There  is  a dark  mountainous  background.  The  upper  part  of  the  design 
is  a representation  of  the  vision  of  Eliphaz.  The  bed  in  which  he 
lies  is  enveloped  in  thick,  rolling  clouds.  The  spirit  (1.)  in  the  likeness 
of  the  Ancient  of  Days,  with  a bright  oval  glory  about  his  head,  moves 
slowly  towards  him  over  a path  of  cloud.  His  features  are  changed  by 


107 


33  fear  and  his  hair  stands  up.  Lofty  trees  with  bare  trunks  and  leafless 

x boughs  rise  up  on  either  side  of  the  margin  into  overarching  clouds.  For 
the  marginal  verses,  see  Job  iv.  17  & 18. 

xi  The  Just  Upright  Man  is  laughed  to  scorn  (xii.  4).  (PI.)  10 

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8:  1825  by  William  Blake  N.  3 Fountain  Court  Strand.  7UX5I  in.; 
3tfX  4f  in. 

Job’s  three  friends  are  grouped  together  in  a row  (r.),  rising  one  above 
the  other:  the  foremost  kneeling,  the  farthest  standing;  they  stretch  out 
their  hands  and  point  their  fingers  at  him  in  angry  scorn.  Job  himself 
kneels  (1.)  in  an  attitude  of  entire  resignation,  with  his  eyes  upturned  to 
heaven.  His  wife,  crouched  upon  the  ground  behind  him  (1.),  gazes 
reproachfully  at  his  three  accusers.  A corner  of  massive  masonry  rises 
behind  her  (1.).  There  is  a background  of  mountains,  darkly  outlined 
against  the  last  glow  of  sunset  in  the  sky.  In  the  margin,  below,  are 
emblematic  figures  of  an  owl  killing  a mouse  (r.)  and  a dove  with  its  feet 
upon  a snake  (1.)  ; a couple  of  scrolls  lie  upon  the  ground  between  them. 
At  the  upper  corners  of  the  design  are  two  angels  bending  over  the 
edges  towards  one  another;  and  on  either  side  of  it,  a chain  and  a pair 
of  demon’s  wings  emerge  from  behind.  For  the  marginal  verses,  see  Job 
xxiii.  10;  xix.  21  ; xiii.  15;  xiv.  1-3. 

xii  With  Dreams  upon  my  bed  thou  scarest  me  & affrightest  me 
with  Visions  (vii.  14).  (PI.)  11 

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8:  1825  by  Will.  Blake  N°.  3 Fountain  Court  Strand.  7fx5|  in.;  3§x 
4tV  in. 

The  visionary  form  of  the  Almighty,1  wound  round  with  the  coils  of 
a vast  serpent,  hovers  close  above  Job’s  bed.  His  hair  stands  up  like 
tongues  of  flame  upon  his  head  and  his  beard  streams  over  his  body  like 
fire.  His  awful  gaze  is  fixed  upon  Job,  who  averts  his  eyes,  and  cries  out 
in  terror,  as  with  one  hand  he  points  to  the  two  Tables  of  the  Law 
which  are  seen  wreathed  in  lightning,  behind  him,  and  with  the  other 
into  a gulf,  below,  seething  with  black  flames,  whence  there  arises  three 
demons  who  endeavour  to  drag  down  Job’s  body  and  to  bind  it  with 
chains.  The  margin  is  filled  with  flames.  For  the  marginal  verses,  see 
Job  xxx.  17  & 30;  xx.  5;  II  Cor.  xi.  14  & 15;  Job  xix.  22-27; 
II  Thes.  ii.  4. 

1 The  Almighty,  as  he  here  appears  to  Job,  wound  round  with  the  serpent  and  having  cloven  feet, 
is  nearly  allied  in  conception  to  the  Jehovah-Urizen  of  Blake’s  own  theology. 

108 


Plate  20 

“WITH  DREAMS  UPON  MY  BED  THOU  SCAREST  ME  AND  AFFRIGHTEST  ME  WITH 

VISIONS.”  Job  vii,  14. 

From  a proof  in  an  early  state.  (33  xii) 


i 


Job  xxxviii,  i.  (33  xiv) 


33  I am  Young  & ye  are  very  Old:  wherefore  I was  afraid  (xxxii. 

xiii  6).  (PI.)  12 

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8:  1825  by  Willm.  Blake  N.  3 Fountain  Court  Strand.  7fx5|  in.; 

3xi  X 4§  in. 

The  young  man,  Elihu,  the  son  of  Barachel  the  Buzite,  of  the  kindred 
of  Ram,  stands  up  (1.)  and  speaks  angrily  to  Job  and  his  three  friends. 
His  right  hand  is  held  out  with  a scornful  gesture  and  a finger  of  his 
left  is  pointed  to  heaven.  Job,  seated  upon  the  ground,  a little  beyond 
him,  in  the  middle  of  the  design,  gazes  at  him,  with  a look  of  patient 
suffering  in  his  eyes.  His  wife  sits  at  his  right  side,  with  her  head  bowed 
to  her  knees  and  resting  upon  her  clasped  hands.  The  three  friends  sit 
together  upon  the  ground  (r.),  by  the  corner  of  a Druid  temple.  Beyond, 
is  a house  or  temple  crowning  a grassy  slope,  with  mountains  in  the 
distance.  It  is  a bright  night  of  stars.  In  the  margin,  Job  is  depicted 
asleep  upon  the  ground,  with  his  left  hand  resting  upon  a scroll  of  God’s 
Word.  Two  angels,  with  scrolls,  hover  at  his  feet  (1.)  ; while  a chain  of 
beautiful  spirits  passes  over  his  body,  mounting  on  either  side  of  the 
design  until  they  meet,  archwise,  above  in  a starry  sky.  For  the  marginal 
verses,  see  Job  xxxiii.  14-17,  23,  24,  29  & 30;  xxxv.  5-7. 

xiv  “Then  the  Lord  answered  Job  out  of  the  Whirlwind”  (xxxviii.  1). 

(PI.)  13 

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8:  1825  by  William  Blake  N°.  3 Fountain  Court  Strand.  7§X5§  in.; 
3fx4f  m. 

The  Lord  appears  above,  within  a shining  vortex  of  wind  and  cloud.  Job 
and  his  wife  kneel  side  by  side  upon  the  ground  (1.),  with  their  hands 
folded  and  their  eyes  upturned  towards  the  divine  vision.  The  three 
friends  kneel  before  them  (r.),  with  their  faces  bowed  to  the  ground. 
Beyond,  is  a Druid  temple,  with  a mountainous  background.  In  the  margin, 
below,  are  the  trunks  of  a pair  of  uprooted  trees.  Above,  the  ancient 
spirits  of  the  storm,  linked  hand  in  hand,  traverse  the  sky  in  a circular 
course  over  the  earth.  For  the  marginal  verses,  see  Job  xxxviii.  2,  31  ; 
Ps.  civ.  3;  Job  xxxviii.  28. 

Mr  Graham  Robertson  has  a water-colour  drawing  of  this  subject,  some- 
what differently  treated ; the  Lord  there  appears  in  the  midst  of  a bright 
rainbow-like  glory  and  encompassed  by  a whirling  circle  of  storm  angels ; 
fob  (seen  from  behind)  kneels,  with  uplifted  hands,  gazing  with  appalled 
eyes  at  the  vision;  his  wife  and  his  three  friends  are  prostrate,  with 
their  faces  in  the  dust,  at  either  side.  The  drawing  was  executed  (?  c. 
1805)  by  Blake  for  his  friend  Butts. 

109 


33  When  the  morning  Stars  sang  together,  & all  the  Sons  of  God 

XV  SHOUTED  FOR  JOY  (xxxviii.  7).  (PI.)  1 4 

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1825  by  Will,n.  Blake,  N.  3 Fountain  Court  Strand.  7^X5tI  in.;  5fx 
3f  in- 

The  Sons  of  God,  who  are  likened  to  a band  of  radiant  cherubim,  stand, 
side  by  side,  tiptoe  upon  a thin  wreath  of  cloud,  singing  to  the  rejoicing 
stars  around  them.  The  upraised  arms  of  the  four,  who  alone  appear  in 
the  design,  each  cross  and  pass  alternately  before  and  behind  his  neigh- 
bour’s, and,  together  with  those  two  others, 1 whose  bodies  are  unseen, 
form  an  interlacing  pattern  of  singular  beauty  at  the  head  of  the  print. 
The  tops  of  their  uplifted  wings  pass  invisibly  beyond  the  margin  of  the 
design.  The  Almighty,  with  a bright  circular  glory  surrounding  his  head, 
crouches  low  down  among  rolling  clouds  beneath  them,  and,  with 
extended  arms,  commands  the  advancing  day  and  the  retreating  night. 
The  bright  charioteer  of  the  sun,  at  his  right  hand,  urges  forward 
his  horses  and,  advancing,  parts  the  mists  of  night  asunder  with  his 
hands  ; and,  at  his  left,  the  feminine  spirit  of  the  moon  is  borne  by  twin 
dragons  away.  Below,  Job,  with  his  wife  (1.)  and  his  three  friends  (r.) 
kneeling  upon  the  ground,  gaze  upwards  in  amazement  at  the  mysterious 
motions  of  the  recurrent  spheres.  On  either  side  of  the  margin,  the 
several  acts  of  the  six  first  days  of  creation  are  depicted  ; each  being 
inscribed  with  the  wyord  of  divine  command.  Below,  upon  the  earth 
(in  front),  a worm  coils  itself  around  a portion  of  clay  in  w'hich  the 
human  form  seems  already  to  be  taking  its  shape;  Leviathan,  beyond, 
turns  his  scaly  bulk  in  the  deep.  The  top  of  the  margin  is  inscribed  with 
job  xxxviii.  31,  between  the  two  constellations  referred  to  in  the  verse. 
At  each  of  the  upper  corners  of  the  design  is  an  angel  wfith  a scroll. 

xvi  Behold  now  Behemoth  w?hich  I made  with  thee  (xl.  15).  (PI.)  15 
W.  Blake  invenit  and  sculpt.  London : Published  as  the  Act  directs, 
March  8 : 1825  by  Willm.  Blake,  N.  3,  Fountain  Court,  Strand.  7!  x 5|  in. ; 
5ix3dt  in. 

Within  a luminous  globe,  seen  floating  amid  clouds,  in  the  low^er  part  of 
the  design,  is  a vivid  drawing  of  the  vision  of  Behemoth  and  Leviathan, 
presented  by  God  to  Job.  The  former  of  these,  of  vast  mammothine 
shape,  moves  in  his  marshy  dwelling  by  the  sea,  and  there  uproots,  wdth 
devastating  tusks,  his  fodder  of  reeds.  The  other,  a crested  monster,  in 
scaly  armour, — half-serpent,  half-dragon, — writhes  angrily,  with  wide 
jaw's  of  terrible  teeth,  in  the  water  in  front,  lashing  it  into  foam  with  the 

1 These  are  absent  from  the  corresponding  design  in  both  sets  of  original  water-colour  drawings,  and 
were  here  added  by  the  happiest  of  inspirations. 


I IO 


Plate  22 


“WHEN  THE  MORNING  STARS  SANG  TOGETHER,'1  ETC.  Job  xxxviii,  7 
From  a proof,  in  an  early  state  and  before  the  marginal  decoration.  (33  xv) 


33  coils  of  his  tail.  Above  the  globe,  there  hovers,  one  on  either  side,  a pair 

xvi  of  watching  angels.  The  Almighty,  appearing  on  high,  among  the  stars, 
points  with  his  finger,  over  the  edge  of  a belt  of  cloud  upon  which  he 
rests,  to  the  creatures  which  he  has  thus  imagined  and  made;  while  Job 
and  his  wife,  with  their  three  friends,  kneel,  beneath  him,  upon  a high 
table-land  and  look  down  upon  them  in  awe.  The  two  primeval  beasts, 
here  represented  as  typical  of  the  great  destructive  forces  of  Nature  by 
land  and  sea,  are  elsewhere  used  by  Blake  as  images  of  Man  in  his 
destroying  aspect;  cp.  the  “Jerusalem,”  p.  91,  11.  38-40  : — 

“.  . . Forming  Leviathan 
And  Behemoth  ; the  War  by  Sea  enormous  & the  War 
By  Land  astounding.” 

Cp.,  also,  the  pair  of  allegorical  paintings  shown  by  Blake  at  his  exhibi- 
tion in  1809,  respectively  entitled1: — “The  spiritual  form  of  Nelson 
guiding  Leviathan,”  and  “The  spiritual  form  of  Pitt  guiding  Behemoth.” 
The  lower  corners  of  the  margin  are  decorated  with  spiral  shells.  At  the 
upper  corners  of  the  design  are  the  ancient,  bearded  figures  of  two 
recording  angels;  beneath,  is  a pair  of  eagles.  For  the  marginal  verses, 
see  Job  xxxvi.  29;  xxxvii.  11  Sc  12;  xl,  19:  xli.  34. 

xvii  Thou  hast  fulfilled  the  Judgment  of  the  Wicked  (xxxvi.  17). 
(PI.)  16 

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1825  by  William  Blake,  N°.  3 Fountain  Court  Strand.  7jX5t#  in.; 
5 Ts  x 3f#  in. 

Satan  falls  headlong  from  heaven  into  the  fiery  gulf,  which  is  indicated 
by  a triple  tongue  of  dark,  nether  flame,  arising  from  a chasm  in  the 
ground.  He  is  followed  in  his  descent  by  two  of  his  angels.  The  three  are 
enveloped  in  a sheet  of  fire,  accompanied  by  bright  flashes  of  forked 
lightning.  Job  and  his  wife  kneel  upon  the  ground  (1.),  gazing  awe-struck 
at  the  stupendous  vision.  His  three  friends  (r.)  shrink  back  in  terror.  Two 
angels  of  light  hover,  one  on  either  side  above,  watching  the  downfall  of 
the  Accuser.  God  is  enthroned  on  high,  with  the  book  of  judgment  open 
upon  his  knees.  He  is  surrounded  by  a bright  vesica-shaped  glory  within 
which  appear  the  forms  of  attendant  angels.  The  clouds  roll  apart,  like 
scrolls,  on  either  side  of  the  throne.  The  margin  is  decorated,  at  the  sides, 
with  flames,  and  with  the  forms  of  angels,  at  the  two  corners  above.  At 
each  upper  corner  of  the  design  is  a bearded  seraph.  For  the  marginal 
verses  see  Job  xxvi.  6;  xi.  7;  Rev.  xii.  10;  Job  xi.  8;  John  xii.  31  ; 
Luke  x.  17  & 18  ; I Cor.  i.  27. 

1 See  Numbers  I.  & II.  in  the  “ Descriptive  Catalogue  ” (1809)  ; the  “ Nelson  ” is  nowin  the  possession 
of  Mr  T.  W.  Jackson,  of  Worcester  College,  Oxford  ; the  “ Pitt  ” is  in  the  National  Gallery  of  British 
Art,  at  Milbank. 


I I I 


33  I HAVE  HEARD  THEE  WITH  THE  EIEARING  OF  THE  Ear,  BUT  NOW  MY  Eye 
XViii  SEETH  THEE  (xlii.  5).  (PI.)  I 7 

W.  Blake  inv.  and  sculp.  London  : Published  as  the  Act  directs  March  8 : 
1825  by  William  Blake,  N°.  3 Fountain  Court  Strand.  7§X5tI  in.; 

3!  x 4-f  in- 

Job  and  his  wife  kneel  in  the  midst  upon  the  ground,  to  receive  the 
blessing  of  God,  who  stands  over  them  (1.),  encircled  by  a bright,  rayed 
glory,  and  lays  his  hands  upon  their  heads.  The  three  friends  (r.)  turn 
away  in  awe  from  the  brightness  of  his  presence,  hiding  their  faces  in 
their  hands.  A mountainous  landscape  is  seen  in  the  distance,  to  r.  In  the 
margin,  below,  an  angel  with  a pen  reposes  by  the  side  of  a scroll  and 
two  books,  which  are  inscribed  with  the  following  verses  from  St  John’s 
Gospel,  ch.  xiv. : 7,  11,  21,  17,  20,  28,  21,  23,  16  & 17.  For  the  other 
marginal  verses,  see  I Sam.  ii.  6 ; I John  iii.  2;  Ps.  viii.  3 & 4 ; John 
xiv.  9 ; x.  30. 

xix  And  my  Servant  Job  seiall  pray  for  you  (lxii.  8).  (PI.)  18 

W.  Blake  inv.  & sculpt.  London:  Published  as  the  Act  directs  March  8: 
1825  by  Will.  Blake,  N°.  3 Fountain  Court  Strand.  7f  X 5!  in.;  4^x3^  in. 

Job  stands  (with  his  back  turned  to  the  spectator),  with  arms  outspread 
in  an  attitude  of  prayer,  before  a burning  altar  of  hewn  stones.  The 
flame  arising  from  the  altar  is  of  a smooth  conical  form,  intersecting  with 
its  apex  the  arc  of  a huge  sun-like  glory  in  the  sky.  Job’s  wife  (1.)  and 
his  three  friends  (r.)  kneel  upon  the  ground,  on  either  side  of  him.  Beyond 
is  a belt  of  trees  upon  a grassy  hill,  with  mountains  in  the  background. 
A painter’s  palette  and  brushes,  a pair  of  graving  tools,  a couple  of  scrolls, 
and  an  open  book  (inscribed  with  Matt.  v.  44  & 48)  lie  upon  some  steps 
in  the  margin,  below.  At  each  end  of  the  steps,  there  grows  a waving 
clump  of  barley.  At  each  of  the  upper  corners  of  the  design  is  a group  of 
three  music-making  angels.  For  the  other  marginal  verses,  see  Job  xlii.  8-10. 
Mr  Graham  Robertson  has  a tinted  sketch  (8|x  ufv  in.)  for  this  design, 
differing  from  it  in  detail;  Job,  there,  faces  the  spectator;  only  sky  and 
clouds  are  to  be  seen  where  the  glory  appears  in  the  print ; the  flames 
upon  the  altar  are  confused  and  spreading,  and  the  altar  itself  is  formed 
of  a monolith ; the  shape  of  the  sketch,  as  will  appear  from  the  measure- 
ments, is  also  different.  There  exist  also  two  other  studies  of  the 
subject.  A water-colour  drawing  of  the  “ Covenant ” (“Noah  and  the 
Rainbow”),  now  in  America  and  exhibited  at  the  Grolier  Club  in  1905 
(No.  94  in  the  Exhibition  Catalogue),  closely  resembles  the  engraving  in 
design. 


1 1 2 


33  Every  one  also  gave  him  a piece  of  Money  (xlii.  1 1).  (PI.)  19 

xx  W.  Blake  inv.  & sculp.  London  : Published  as  the  Act  directs  March  8 : 

1825,  by  William  Blake,  N.  3 Fountain  Court  Strand.  7x11x5x1  in.; 
3tv  x 4§  in. 

Job  and  his  wife  sit  beneath  a fruitful  fig-tree  at  the  corner  of  a ruin  (r.). 
Four  of  their  friends  (a  man  and  a woman  in  front  and  two  girls  behind, 
1.)  visit  them,  each  bearing  a gift.  The  woman  in  front  offers  them  an 
ear-ring  of  gold.  Beyond,  is  a rich  field  of  standing  corn,  and,  in  the 
distance,  a mountain,  behind  which  the  sun  rises.  A tall  palm-tree  1 arises 
on  either  side  in  the  margin,  where  there  are  also  a number  of  rejoicing 

angels.  For  the  marginal  verses,  see  I Sam.  ii.  7;  Job  xlviii.  41;  Ps. 

cxxxvi.  23. 

A sketch,  in  pencil  washed  with  India  ink  (io|x8|  in.)  for  this  design, 
differing  from  it  in  composition,  is  in  the  Print  Room;  Job  and  his  wife 
are  there  seated  in  the  middle,  and  his  friends  approach  with  gifts  on 
either  side  ; the  Almighty  surrounded  by  angels  hovers  above.  Another 
sketch,  in  pencil  (8ffx6if  in.),  also  of  a different  treatment,  is  in  Mr 
Graham  Robertson’s  collection. 

xxi  There  were  not  found  Women  fair  as  the  Daughters  of  Job  in 
all  the  Land  (xlii.  15).  (PI.)  20 

W.  Blake  invenit  & sc.  London : Published  as  the  Act  directs  March  8 : 
1825  by  William  Blake  N°.  3 Fountain  Court  Strand.  7t  x 5 1 in-; 
3f  x 4tv  in. 

Job  sits  in  his  house  narrating  to  his  three  daughters  (two  of  whom  sit 
close  to  him  on  each  side  with  their  heads  propped  against  him,  while 
the  third  kneels  at  his  feet),  the  happy  issue  from  his  misfortunes.  His 
hands  are  stretched  out  on  either  side,  pointing  to  pictures  on  the  wall, 
in  which  are  drawn  the  various  incidents  of  his  temptation.  In  the  midst, 
behind  him,  is  the  likeness  of  God  appearing  in  the  whirlwind  ; at  his 
right  hand,  a band  of  robbers  is  seen  falling  upon  his  children’s  servants ; 
and  at  his  left,  is  Satan,  smiting  a man  at  the  plow.  A fruitful  vine  climbs 
on  either  side  of  the  margin,  meeting  archwise  at  the  top.  Great  bunches 
of  grapes  lie  upon  the  ground,  together  with  a pair  of  musical  instruments. 
At  each  of  the  upper  corners  of  the  design  is  a pair  of  conversing  angels. 
For  the  marginal  verses,  see  Ps.  cxxxix.  17;  Job  xlii.  15;  Ps. 
cxxxix.  8. 

Mr  Graham  Robertson  has  a pencil  sketch,  touched  up  with  pen  and 
slightly  tinted  (7|xio  in.)  for  this  design,  differing  from  it,  however, 
in  that  the  scene  is  placed  out  of  doors,  with  sheep  grazing  around ; 
the  pictorial  subjects  in  the  background  are  only  roughly  indicated.  A 

1 Cp.  “ The  righteous  shall  flourish  like  the  palm  tree.”  Ps.  xcii.  iz. 

"3 


H 


33  similar  sketch,  in  pencil,  is  in  the  Print  Room.  A third  sketch, 

xxi  also  in  pencil,  without  the  pictures  in  the  background,  was  sold  by 
Mr  H.  H.  Gilchrist  at  Sotheby’s,  24th  June  1903.  A tempera  picture 
(10X14J;  in.)  of  the  same  subject  and  closely  resembling  the  print  in 
design  (only  with  the  pictures  a little  higher  up  in  the  composition),  was 
bought  by  Mr  J.  C.  Strange  at  the  Butts’  sale  (at  Foster’s,  1853)  and 
was  subsequently  in  the  collection  of  Mr  W.  B.  Scott. 

xxii  So  the  Lord  blessed  the  latter  end  of  Job  more  than  the 
BEGINNING  (xlii.  1 2).  (PI.)  2 1 

W.  Blake  inv.  & sculp.  London  : Published  as  the  Act  directs.  March 
8:  1825  by  William  Blake,  Fountain  Court,  Strand.  7fx5f  in; 
3Ax4|  in. 

Job  and  his  wife,  with  his  seven  sons  and  three  daughters,  are  assembled 
under  a broad  oak-tree,  singing,  with  every  kind  of  music,  a thanks- 
giving song.  Some  sheep,  with  their  lambs,  and  a dog  repose  upon  the 
turf  in  front.  Beyond  is  a numberless  flock  of  pasturing  sheep.  The  sun 
rises  behind  distant  hills  (r.),  and  the  moon  and  the  stars  (1.)  grow  pale. 
In  the  lower  part  of  the  margin  is  a burning  altar,  with  rams’  heads  at 
the  corners;  the  face  of  it  is  inscribed  with  Heb.  x.  6.  A bull  (r.)  and 
a ram  (1.)  repose  on  either  side  upon  the  ground.  For  the  other  marginal 
verses,  see  Rev.  xv.  3;  Job  xlii.  16  & 17. 

His  original  series  of  twenty-one  water-colour  designs  for  the  “Book  of 
Job”  was  executed  by  Blake,  in  c.  1820,1  for  his  old  patron,  Thomas 
Butts.  The  duplicate  set,  from  which  the  engravings  were  done,  was 
commissioned  from  him,  in  1823,  by  John  Linnell,  the  unfailing  friend 
of  his  last  years.  The  following  account,  doubtless  derived  from  Linnell 
himself,  is  given  by  Gilchrist 2 of  the  origin  of  the  present  volume: — 
“ The  drawings  of  Job  had  been  borrowed  from  Mr  Butts  to  be  shown 
to  such  as  might  seem  likely  to  prove  employers.  From  Mr  Linnell  alone 
they  drew  a commission.  He  engaged  Blake  to  execute  and  engrave  a 
duplicate  set.  The  agreement,  recorded  in  writing  in  a business-like  way, 
bears  the  date  25th  March,  1823.  It  was  such  an  one  as  Blake  had 
never  set  hand  to  before,  nor  could  have  obtained  in  any  other  quarter. 
Blake  was  to  receive  £100  for  the  designs  and  copyright,  to  be  paid 
from  time  to  time;  and  another  ^100  out  of  the  profits.  No  profits  w'ere 
realised  by  the  engravings,  their  sale  hardly  covering  expenses.  But  as 
the  designs  and  stock  of  engravings  remained  with  the  purchaser, 
Mr  Linnell  subsequently  paid  over,  from  time  to  time,  £50  more,  making 
a total  of  ^150, — the  largest  sum  Blake  had  ever  received  for  any  one 

1 The  actual  date  of  this  original  series  is  uncertain  ; but  it  is  likely  to  have  preceded  the  other  by  no- 
more  than  a year  or  two. 

2 In  the  “ Life  ” (ed.  1880),  vol.  i.  pp.  328-329. 


33  series.  The  drawings,  the  remainder  of  engravings  and  plates,  are  still  in 
xxii  the  hands  of  this  liberal  friend,  who  discounted,  as  it  were,  Blake’s  bill 
on  posterity,  when  none  else  would.  While  the  Job  was  in  progress, 
Blake  received  his  money  in  the  way  handiest  to  him, — instalments  of 
£ 2 to  £t)  a week  ; sums  amply  sufficient  for  his  ordinary  wants,  thanks 
to  his  modest  manage  and  simple  habits.”  Both  series  of  the  original 
drawings  are  considerably  larger  in  scale  than  the  prints  and  lack  the 
decorative  borders ; — for  further  particulars  with  notes  of  the  differences 
between  the  corresponding  designs  in  each  series  and  of  the  final 
modifications  introduced  into  the  engravings,  see  the  descriptive  list  given 
in  Gilchrist’s  “Life”  (ed.  1880,  vol.  ii.  pp.  223-5).  The  Butts  series  is 
at  present  in  the  collection  of  Mr  J.  Pierpont  Morgan,  for  whom  it  was 
purchased  by  Mr  Quaritch  at  the  Crewe  sale  1 for  the  sum  of  £ 5600  ; 
the  duplicates  remain  in  the  possession  of  the  Linnell  family,  who  are  also 
the  owners  of  a complete  set  of  the  drawings,2  reduced  from  the  latter 
to  the  scale  adopted  in  the  prints,  for  the  purposes  of  engraving.  The 
plates  were  finished,  as  indicated  by  their  imprints,  in  the  spring  of 
1825.  Trial  proofs  of  the  prints  in  varying  states  of  completion,  are 
occasionally  to  be  met  with.  The  Print  Room  has  examples  of  early 
states  of  the  following  numbers: — iii.,  ix.,  xii.  (two  different  states),  xvii., 
xx.,  xxi.,  xxii. ; several  of  them  bearing  J.  Linnell’s  name  and  address 
(N°.  6 Cirencester  Place,  Fitzroy  Square)  in  the  imprint.3  A number  of 
early  states  of  the  prints  exist  also  in  the  collections  of  Mr  Stopford 
Brooke,  Mr  W.  A.  White  (Brooklyn,  U.S.A.),  the  Linnell  family  and 
others.  A fine  impression,  in  early  state.  No.  xv.  (above)  is  here  repro- 
duced by  the  kind  permission  of  Mr  Robson  (of  Coventry  Street),  who 
also  possesses  an  early  proof  of  No.  ii.  The  early  state  of  No.  xii.,  here 
illustrated,  is  from  the  earlier  of  the  two  examples  in  the  Print  Room. 


34  ILLUSTRATIONS  OF  DANTE.  SEVEN  PLATES,  DESIGNED 
AND  ENGRAVED  BY  W.  BLAKE,  AUTHOR  OF  “ILLUSTRA- 
TIONS OF  THE  BOOK  OF  JOB,”  &c.,  &c.  (Folio.) 

List  of  plates  upon  a printed  label,  as  follows : — 

Plate  I. 

“ . . . and  like  a corse  fell  to  the  ground.” 

“Hell,”  Canto  v.  line  137. 

1 At  Sotheby’s,  30th  March  1903. 

2 Done  in  pencil  and  India  ink  (some  touched  with  colour),  upon  India  paper. 

3 Proofs,  earlier  than  the  published  state,  are  commonly  to  be  found  with  the  imprint  in  this  form. 

ID 


34  Plate  II. 


“ . . . seiz’d  on  his  arm, 

And  mangled  bore  away  the  sinewy  part.” 

“ Hell,”  Canto  xxii.  line  70. 


Plate  III. 

“ . . . so  turn’d 
H is  talons  on  his  comrade.” 


Plate  IV. 


“Hell,”  Canto  xxii.  line  135. 


“ . . . lo  ! a serpent  with  six  feet 
Springs  forth  on  me.” 

“Hell,”  Canto  xxv.  line  45. 


Plate  V. 


Plate  VI. 


“ He  ey’d  the  serpent  and  the  serpent  him.” 

“ Hell,”  Canto  xxv.  line  82. 


“ . . . Then  two  I mark’d,  that  sat 
Propp’d  ’gainst  each  other  ” 

“Hell,”  Canto  xxix.  line  71. 


Plate  VII. 


“ ‘ Wherefore  dost  bruise  me  ? ’ weeping  he  exclaim’d.” 

“ Hell,”  Canto  xxxii.  line  79. 

Cary’s  “ Dante.” 


i The  Whirlwind  of  Lovers,  from  Dante’s  “Inferno,”  Canto  v.  (Title 

inscribed  in  reversed  letters  upon  the  engraving.)  9Ti * * * * * 7_x  13I  in. 

Dante,  swooning  with  pity  at  Francesca’s  story  and  Paolo’s  tears,  lies 

prostrate  (r.)  upon  a rock  overgrown  with  cactus-like  plants.  Virgil 

bends  sorrowfully  over  him.  The  two  lovers  are  being  caught  back  in  a 
tongue  of  flame  into  the  whirlwind,  which  arises  in  a vortex,  half-wave, 
half-fire,  from  a storm-vexed  lake  and  passes  out  of  the  picture  high  up 

on  the  left,  bearing  with  it  a multitude  of  sufferers.  Over  Virgil’s  head 
is  a vision  of  the  kiss  within  a disk  of  bright  light. 

Mr  Graham  Robertson  has  a pencil  sketch  by  Blake  of  the  figures  of 
Paolo  and  Francesca  in  this  design,  inscribed  by  Tatham: — “Paolo  & 
Francesca;  supposed  for  the  Dante.  By  William  Blake;  attested  by 
Fred.  Tatham.”  The  same  owner  has  another  slight  pencil  sketch  of  the 
whole  composition,  differing  from  the  present  in  design:- — Dante  and 
Virgil  stand  below,  watching  the  stream  of  figures  as  it  sweeps  up  a 
narrow  valley;  flames  arise  from  a walled  city  in  the  distance;  it  is 
inscribed  by  Tatham: — “By  William  Blake.  First  sketch  for  the 
Whirlwind  of  Lovers  from  Dante,  afterwards  engraved  after  another 
design.  Frederick  Tatham.” 

1 16 


PAOLO  AND  FRANCESCA,  AND  THE  WHIRLWIND  OF  LOVERS 
Dante’s  “ Inferno,”  c,  v.  (34  i) 


DANTE  STRIKING  BOCCA  DEGLI  ABBATI'S  HEAD  WITH  HIS  FOOT 
Dante  s “ Inferno,  c.  xxxii.  (34  vii) 


34  The  Malebranche  tormenting  Ciampolo.  Canto  xxii.  9Tt_x  13^.  in. 

11  Ciampolo  stands  (1.)  at  the  edge  of  the  boiling  pitch,  while  the  sinewy 
part  of  his  arm  is  torn  away  by  Libicocco’s  hook.  Tusked  Ciriatto, 
with  two  other  of  the  Malebranche,  look  on  from  near  a rock  (r.). 

iii  Two  of  the  Malebranche  quarrelling.  Canto  xxii.  9^x  1 3-g  in. 
Calcabrina  and  his  fellow  claw  each  other  with  talon-like  fingers,  above 
the  boiling  pitch.  The  other  demons  make  exultant  gestures  on  the 
shore  beyond  (r.).  Dante  and  Virgil  pass  away  to  the  left. 

iv  Agnello  and  Cianfa  merging  into  a single  body.1  Canto  xxv. 

9AX  l3%  in* 

Agnello  stands  in  the  midst,  with  hair  on  end,  yelling  in  the  serpent’s 
grip.  The  winged  six-footed  monster  fastens  on  to  him  behind,  tearing 
his  cheeks  with  his  teeth,  clutching  his  flanks  with  a pair  of  its  feet  and 
with  the  folds  of  its  tail  entwining  his  right  leg.  Other  serpents  of  evil 
aspect  threaten  on  every  side.  Buoso  and  Puccio  look  on  (r.).  Dante  and 
Virgil  are  on  the  right.  There  are  flames  in  the  background. 

v Buoso  Donati  attacked  by  the  Serpent.  Canto  xxv.  9§x  13!  in. 
Buoso  (r.),  with  upraised  hands,  shrinks  back  from  the  serpent 
(Francesca),  who  flies  at  him,  breathing  out  smoke.  Puccio  Sciancato 
stands  to  1.,  and  from  the  extreme  1.  Dante  and  Virgil  look  on. 
There  is  a background  of  flames,  mounting  up  into  a dense  cloud  of 
smoke. 

vi  The  Circle  of  the  Falsifiers — Griffolino  and  Capocchio.  Canto 
xxii.  9t^x  13I  in. 

Dante  and  Virgil  descend  together  a bridge  of  petrified  human  forms. 
Below  them  the  two  sinners,  sitting  back  to  back  upon  a heap  of 
suffering  bodies,  scratch  themselves.  Other  falsifiers  wallow  in  a ditch 
or  writhe  upon  its  brink.  A second  bridge  of  tortured  human  bodies 
passes  out  of  the  design  to  1.  In  the  background  is  a vast  mountain. 

vii  Dante  striking  Bocca  degli  Abbati’s  head  with  his  foot.  Canto 
xxxii.  9^  x 13!  in. 

The  two  poets  are  passing  the  sea  of  ice,  into  w’hich  the  treacherous  are 
frozen  up  to  their  necks.  Bocca,  in  front,  starts  in  terror  at  the  stroke  of 
Dante’s  foot.  A cliff  of  ice,  with  other  sinners  imprisoned  in  it,  rises  to  r. 
The  designs  for  the  “Divina  Commedia”  are  Blake’s  last  important 
work.  The  commission,  as  in  the  case  of  the  “ Job,”  came  from  Linnell. 

1 A pencil  study  of  the  two  figures  was  included  in  the  Richard  Johnson  sale  of  Drawings  by  Old 
Masters  (25th  April  1912),  Lot  712  in  the  sale  Catalogue  (where,  however,  it  was  both  unattributed 
and  undescribed). 


1 1 7 


34  The  undertaking  was  begun  about  1824,  and  he  made  a series  of 
vii  a hundred  water-colour  drawings,  some  of  which  remained  unfinished  at  his 

death.  The  whole  of  the  drawings  are  still  in  the  possession  of  the 
Linnell  family.  He  lived  to  engrave  only  seven  of  them.  His  last  letters 
contain  frequent  allusions  to  his  labours  at  the  “ Dante.”  1 The  work  of 
engraving  was  begun  in  1826. 2 In  February  1827  he  wrote  to  Linnell: — 
“ I go  on,  as  I think,  improving  my  engravings  of  Dante  more  and  more ; 
and  shall  soon  get  proofs  of  these  four  which  I have;  and  beg  the 
favour  of  you  to  send  me  the  two  plates  of  Dante  which  you  have,  that 
I may  finish  them  sufficiently  to  make  show  of  colour  and  strength.” 
And  again  on  the  25th  April,  he  says: — “I  am  too  much  attached  to 
Dante  to  think  much  of  anything  else.  I have  proved  the  six  plates,  and 
reduced  the  fighting  devils  (No.  iii.)  ready  for  the  copper.”  The  “Price 
£2,  2s.  on  India  paper”  appears  below  the  title  on  a printed  label. 

35  (CHRIST  WITH  A BOW,  TRAMPLING  UPON  SATAN) 

(Without  title,  signature  or  date.  ? 1827.)  Line;  9^x5!  in. 

Christ,  a majestic  figure  in  a long  flowing  robe,  with  a strung  bow  in  his 
left  hand  and  an  arrow  in  his  right,  tramples  upon  Satan,  an  ancient, 
bearded  figure,  who  lies  writhing  beneath  him. 

The  idea  is  taken  from  Milton,  “ Paradise  Lost,”  Bk.  VI.  763 ; but  a 
symbolical  meaning  of  the  victory  of  Imagination  over  Reason  is, 
doubtless,  intended  (cp.  the  conclusion  of  “Jerusalem,”  where  the  bow  is 
also  introduced).  The  print  belongs  to  Blake’s  last  years  and  was  left 
unfinished.  The  original  copper  plate  with  a print  from  it  was  sold  by 
the  late  Captain  Butts  at  Sotheby’s,  24th  June  1903,  for  £$-,  the 
purchaser  being  Mr  Shaw  of  Walsall,  who  has  had  further  impressions 
taken  from  it — one  of  these  is  in  the  Print  Room.  A pencil  drawing, 
entitled  “ Christ  Trampling  upon  Satan,”  mentioned  in  the  list  in 
Gilchrist’s  “Life”  (ed.  1880,  vol.  ii.  p.  2 66,  No.  1 10),  may  perhaps 
be  a study  for  the  engraving. 

36  (GEORGE  CUMBERLAND’S  MESSAGE  CARD) 

Signed,  W.  Blake  inv.  & sc.  A.  JE.  70,  1827.  Line;  ifx3y3g  in. 

The  name  “ Mr  Cumberland  ” (printed  in  bastard  gothic  letters)  is  sur- 
rounded by  a minutely  executed  allegorical  design,  which  appears  to 
represent  the  punishment  for  cruelty  to  animals  and  the  reward  of  industry 

1 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  1906,  pp.  xliii.,  xliv.,  209,  213, 
215,  219-221,  223,  228. 

2 See  pp.  213  Jf.  of  “ The  Letters.” 

I 18 


Plate  25 

CHRIST  WITH  A BOW,  TRAMPLING  UPON  SATAN 

? 1827.  (35) 


36 


and  innocence.  On  one  side,  below,  are  two  figures,  one  with  a snare, 
the  other  flying  a pair  of  birds  on  strings ; a reaping  angel,  with  a sickle, 
descends  upon  them — -the  intention  being  shown  by  some  growing  oats 
close  by.  On  the  other  side,  three  rejoicing  angels  appear  to  an  upward 
floating  figure  with  a distaff;  and  near  them  a child  bowls  a hoop  through 
the  sky. 

The  message  card  is  mentioned  in  a letter  from  Blake  to  Cumberland, 
dated  12  th  April  18271: — “ The  little  card  I will  do  as  soon  as  possible  ” ; 
the  same  letter  is  endorsed  with  a memorandum  in  Cumberland’s  hand- 
writing: — “My  little  Message  card  was  the  last  thing  he  executed,  and 
he  dated  it  thus  : W.  Blake,  inv.  & sc/JE  70,  1827;  the  widow  charged 
me  £3,  3s.  for  it,  and  ^3,  3s.  for  the  Job.”  The  Linnell  collection  con- 
tains some  trial  proofs  of  the  plate  in  an  unfinished  state.  The  design 
is  reproduced  in  Gilchrist’s  “Life.”2  George  Cumberland  was  for  more 
than  thirty  years  a true  and  generous  friend  to  Blake,  who  addressed  some 
of  the  most  charming  of  his  letters  to  him.  He  was  the  means  of  introduc- 
ing him  to  several  of  his  best  patrons,  particularly  John  Linnell.  He  was 
keenly  interested  in  all  artistic  matters.  He  learned  from  Blake  the  art  of 
engraving,  and  with  his  help  published  in  1796  his  “Thoughts  on 
Outline,”  embellished  with  twenty-four  designs  of  classical  subjects. 

37  (DEATH  OF  THE  FIRST-BORN) 

Of  uncertain  date. 

A print  of  this  title  was  lent  by  Mrs  Gilchrist  to  the  exhibition  of  Blake’s 
works  held  at  the  Burlington  Fine  Arts  Club  in  1876.  It  is  No.  284  in 
the  Catalogue  ; where,  however,  no  further  particulars  are  given.  It  is 
unknown  to  the  writer,  who  is  also  ignorant  as  to  whether  it  be  a specimen 
of  Blake’s  Illuminated  Printing  or  one  of  his  Printed  Drawings,  in  which 
latter  case  it  would  fall  without  the  scope  of  the  present  volume.  A 
water-colour  drawing  of  this  subject,  of  the  date  1805,  is  in  the  Boston 
Museum  of  Fine  Arts ; there  also  exists  a sheet  of  pencil  sketches  for 
the  same. 

37a  (LUCIFER  SHOWING  THE  POPE  HIS  DESTINY  IN  HELL) 

“Stamped  print,  highly  finished  by  hand”;  3 7^x  io|  in. 

A print  of  the  above  title  was  lent  by  Mr  George  Smith  to  the  Burling- 
ton Fine  Arts  Club  exhibition  of  Blake’s  works  in  1876.4  It  is,  also,  in- 

1 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  1906,  pp.  xliv.  and  223-324. 

2 Ed.  1880,  vol.  i.  p.  399. 

3 So  described  in  the  B.F.A.C.  Catalogue. 

4 No.  167  in  the  same  Catalogue. 

I 19 


37a  eluded  in  the  list  of  coloured  works  in  the  second  volume  of  Gilchrist’s 
“Life”  (ed.  1880),  p.  254,  No.  267,  with  a cross-reference  given  to  p. 
253,  No.  252,  “the  subject-matter  of  which  is  akin  to  this”  ; the  work 
referred  to  being  a water-colour  drawing,  entitled,  “The  Lord  hath  broken 
the  staff  of  the  wicked,”  wherein  is  presented  “ a pope,  escorted  through 
hell,  by  a demon  or  avenging  angel,  and  witnessing  the  punishment  of 
kings  and  barons  sunk  in  a fiery  swamp.”  The  print  in  question  is  un- 
known to  the  writer,  who  is  also  ignorant  as  to  whether  it  be  a specimen 
of  Blake’s  Illuminated  Printing  or  one  of  his  Printed  Drawings,  in  which 
latter  case  it  would  fall  without  the  scope  of  the  present  volume. 


1 20 


II.— PRINTS  DESIGNED  BY  BLAKE,  BUT  NOT 
ENGRAVED  BY  HIM 


38  LEONORA.  A TALE,  TRANSLATED  AND  ALTERED  FROM 
THE  GERMAN  OF  GOTTFRIED  AUGUSTUS  BURGER.  BY  J.  T. 
STANLEY,  ESCh  F.R.S.  &c. 

A new  edition.  London:  printed  by  S.  Gosnell,  for  William  Miller,  Old 
Bond  Street.  1796.  (4to.) 

The  book  contains  a frontispiece,  and  a head  and  a tail  piece  engraved 
by  Perry  from  Blake’s  designs. 

i (Frontispiece) 

“ 0 ! how  I dreamt  of  things  impossible. 

Of  Death  affecting  Forms  least  like  himself ; 

I’ve  seen,  or  dreamt  I saw  the  Tyrant  dress. 

Lay  by  his  Horrors,  and  put  on  his  smiles  ; 

Treacherous  he  came  an  unexpected  Guest, 

Nay , though  invited  by  the  loudest  Calls 
Of  blind  Imprudence,  unexpected  still  ; 

And  then , he  dropt  his  Mask." 

“ Alter  d from  Young." 

Blake  inv.  Perry  sc.  Stipple  and  line,  mixed  ; 7|  x6^.  in. 

The  subject  of  the  frontispiece  is  taken  from  Leonora’s  dream.  The 
naked  form  of  her  lover  sits  astride  the  pale  horse  of  Death,  while  she 
herself  clings  to  him,  pillion-wise,  behind.  The  horse  races  in  an  upward 
direction  through  the  air,  breathing  flames  from  his  nostrils  and  striking 
a fiery  glow  from  a rock  with  his  heels.  Imps  and  spectres  crowd  the  air, 
and  dance  before  the  moon.  A cluster  of  fiends  bursts  up  from  a rocky 
cleft  below. 

ii  (Head-piece  at  the  beginning  of  the  English  version) 

Blake  in.  Perry  sc.  Stipple;  3^x4^  in.  (approximately). 

Illustrates  the  return  of  the  troops  and  their  reunion  with  their  wives 
and  children. 

iii  (Tail-piece  following  the  English  version) 

Blake  in.  Perry  sc.  Stipple;  3f  x6  in. 

Leonora  awakes  from  her  dream,  to  find  her  lover  advancing  eagerly  to 
embrace  her.  Her  mother  also  bends  over  her,  at  the  foot  of  the  bed  (1.). 
The  original  water-colour  drawing  (3^  x 5Tv  in*)  f°r  this  subject  is  in  the 
possession  of  Mrs  Dew-Smith.  Mr  Graham  Robertson  has  a pencil  sketch 
of  the  “ Waking  of  Leonora,”  in  which  whirling  forms  appear  in  flight, 
the  passing  of  the  dream, — omitted  in  the  engraving. 

123 


39  A FATHER’S  MEMOIRS  OF  HIS  CHILD,  BY  BENJ.  HEATH 
MALKIN  ESCL,  M.A.,  F.A.S.  (8vo.) 

London : Printed  for  Longman,  Hurst,  Rees,  and  Orme,  Paternoster 
Row;  By  T.  Bensley,  Bolt  Court,  Fleet  Street,  1806. 

An  oval  portrait  of  the  two-year-old  infant  from  a miniature  by  Paye,1 
surrounded  by  an  allegorical  design,  serves  as  a frontispiece  to  this  little 
volume.  The  marginal  design  is  Blake’s,  and  was  originally  engraved  by 
him,  but  was  re-engraved  by  R.  H.  Cromek  before  publication:  Win. 
Blake  invt.  R.  H.  Cromek  sc.  London.  Published  by  Longman  Co. 
February  1st,  1806. 

The  portrait  is  in  stipple,  and  Blake’s  design  in  line;  7f  X 5pr.  in.  (the 
portrait,  3 x 2§  in.). 

The  child,  who  died  in  infancy,  is  led  away  by  an  angel,  pointing  heaven- 
wards. The  mother  kneels  upon  the  edge  of  a cliff,  saying  good-bye, 
with  her  arms  held  out  towards  him,  as  he  floats  from  her.  The  child’s 
pen,  compasses  and  sketch-book  lie  upon  the  ground  at  her  side. 

The  volume  also  contains  some  specimens  of  the  child’s  drawdng  in  fac- 
simile and  a map  designed  by  him  of  an  imaginary  island.  The  child  was 
Blake’s  pupil,  and  in  the  dedicatory  epistle  (pp.  xviii.-xli.),  the  father  tells 
the  story  of  Blake’s  early  life,  with  some  account  of  his  poems  and 
designs.  This  brief  biographical  sketch  is  important  as  being  the  first 
printed  record  of  Blake’s  life  and  as  being  presumably  derived  from  his 
own  lips.  The  Print  Room  has  a pencil  sketch  connected  with  Blake’s 
design  (No.  6 in  Binyon’s  list). 


40  THE  GRAVE,  A POEM.  BY  ROBERT  BLAIR.  ILLUSTRATED  BY 
TWELVE  ETCHINGS  EXECUTED  FROM  ORIGINAL  DESIGNS 

London  : printed  by  T.  Bensley,  Bolt  Court,  for  the  Proprietor,  R.  H. 
Cromek,  N°.  64,  Newman  Street.  1808.  (4to.) 

The  twelve  illustrations  of  the  poem  are  engraved  in  line  by  Luigi 
Schiavonetti  from  Blake’s  designs.  The  frontispiece,  also  engraved  in  line 
by  Schiavonetti,  is  from  a portrait  of  Blake  by  T.  Phillips,  R.A.2 

i (The  Skeleton  Re-animated.)  (Title-page) 

Drawn  by  W.  Blake.  Etched  by  L.  Schiavonetti.  I3^X  io|. 

“ When  the  dread  trumpet  sounds,  the  slumb’ring  dust, 

Not  unattentive  to  the  call,  awakes;” 


1 Probably  Miss  Paye,  miniaturist,  f.  1798-1807. 

2 The  original  painting  (oil;  35^x27^  in.)  is  now  in  the  National  Portrait  Gallery. 


Plate  26 

“TO  THE  QUEEN" 

A rejected  design  for  the  Dedication  of  Blair's  “ Grave.”  From  a water-colour  drawing  in  the  Print  Room.  (40) 


40  “ while  the  world  in  flames  typifies  the  renovation  of  all  things,  the  end 

i of  Time,  and  the  beginning  of  Eternity.” 

An  angel  with  a trumpet,  descending  headlong,  awakes  a skeleton  in  the 
grave. 

The  subject  fills  the  right  hand  and  lower  margins  of  the  first  of  two 
title-pages  appearing  in  the  book,  which  reads  as  follows: — “The  Grave, 
A Poem.  Illustrated  by  twelve  Etchings,  Executed  by  Louis  Schiavonetti, 
From  the  Original  Inventions  of  William  Blake.  1808.”  The  design 
is  nearly  identical  with  that  on  p.  19  of  Young’s  “Night  Thoughts” 
(No.  17,  xii.  above).  A pencil  study  for  it  was  owned  by  the  late  Mr 
Frederic  Shields.1  There  exist,  besides,  two  rejected  designs  for  the 
title-page  of  the  “ Grave.”  One  of  these,  a highly  finished  water-colour 
drawing  of  great  beauty  (dated  1806),  in  the  Print  Room,  represents  the 
resurrection  of  the  just,  who,  released  from  the  chains  of  earth,  joyfully 
mount  into  the  air;  an  angel,  with  a key,  descends  headlong  into  their 
midst,  and,  above,  on  either  side  of  the  space  left  for  the  title,  are  two 
other  angels,  one  holding  a pair  of  scales  and  a scroll,  the  other  in  the 
act  of  sheathing  a sword.  Professor  Bateson  has  a fine  pencil  sketch  of 
this  subject.  The  second  alternative  design,  also  done  in  water-colours  and 
bearing  the  same  date  as  the  other,  is  in  the  collection  of  Mr  B.  B. 
Macgeorge.  There,  the  Soul,  in  the  likeness  of  a lovely  maiden, 
emerging  from  the  tomb,  floats  upwards,  amid  a flood  of  yellow  light 
descending  from  above,  into  the  blue  of  heaven  (partly  veiled  by  white 
clouds),  into  which  she  gazes,  with  clasped  hands.  The  cast-off  grave 
clothes  lie  below,  upon  the  sepulchre,  on  either  side  of  which  a watching 
spirit,  one  (r.),  demon-like,  with  dark,  spiny  pinions,  the  other  (1.)  of 
a gentle  aspect,  with  the  butterfly’s  wings  of  a faery.  The  face  of  the 
tomb,  which  has  a projecting  cornice  and  a decorated  front,  is  inscribed 
with  the  title: — “ A Series  of  Designs  Illustrative  of  The  Grave,  a Poem 
by  Robert  Blair.  Invented  & Drawn  by  William  Blake,  1806.”  For  the 
reading  of  the  second  title-page,  which  immediately  follows  the  first,  see 
the  heading  of  this  number.  Next  to  this  comes  the  dedication  “To  The 
Queen,”  in  twenty  lines  of  verse,  signed  William  Blake ; then,  on  pp.  xiii. 
& xiv.,  the  Preface  by  Fuseli,  the  text  of  which  is  here  given  in  the 
Appendix  (No.  3). 

ii  Christ  descending  into  the  Grave.  P.  i 

“ Eternal  King  ! whose  potent  arm  sustains 
The  Keys  of  Hell  and  Death.” 

Drawn  by  W.  Blake.  Etched  by  L.  Schiavonetti. 

1 A sketch  described  as  “ the  first  idea  ” of  the  “ Frontispiece  to  Blair’s  Grave,”  which  was  sold  with 
“ various  other  designs  for  the  Book  ” in  a sale  at  Southgate  and  Barret’s  on  7th  June  1854  (Lot  146  ; 
containing  in  all  22  sketches,  16s.,  Edsall),  is  perhaps  identical  with  this. 

12  5 


40  London.  Published  May  Ist.  1808.  by  Cadell  & Davies,  Strand. 

ii  8tIx  4§  in. 

Christ,  with  the  keys,  descends  some  steps  into  the  Grave. 

iii  The  meeting  of  a Family  in  Heaven.  P.  9 

Same  signature  & imprint  as  the  preceding  No.  95X55  in. 

“The  sweet  felicity,  the  endearing  tenderness,  the  ineffable  affection, 
that  are  here  depicted  are  sufficiently  obvious.  The  Husband  clasps  the 
Wife;  the  Children  embrace;  the  Boy  recognises  and  eagerly  springs  to 
his  father.” 

iv  The  C.ounseller,  King,  Warrior,  Mother  Sc  Child,  in  the  Tomb. 
P.  1 i 

Same  signature  Sc  imprint.  5|x8|  in. 

“ All  are  equal  in  the  Grave.  Wisdom,  Power,  Valour,  Beauty,  and 
Innocence,  at  the  hour  of  Death,  alike  are  impotent  and  unavailing.” 

v Death  of  the  Strong  Wicked  Man.  P.  12 

“ . , . Heard  you  that  groan  ? 

It  was  his  last.” 


Drawn  by  W.  Blake.  Engraved  by  L.  Schiavonetti. 

Same  imprint.  8^x  io|  in. 

“ Extent  of  limb,  a broad  capacious  chest,  heaving  in  agony,  and 
prodigious  muscular  force,  so  exerted  as  to  pourtray  the  excruciating 
torments  of  mind  and  body,  all  contribute  to  give  a fearful  picture  of  the 
Strong  and  Wicked  Man  in  the  pangs  of  Death.  His  masculine  soul  is 
hurried  through  the  casement  in  flame,  while  his  daughter  hides  her  face 
with  horror  not  to  be  resisted,  and  his  frantic  wife  rushes  forward,  as  if 
resolved  to  share  his  fate.” 

A rough  pencil  sketch  (5!  x io|-  in.)  in  the  Victoria  and  Albert  Museum, 
of  a naked  figure,  with  a terrified  expression,  stretched  upon  a bed,  with 
another  figure  bending  over  him,  is  probably  a study  for  part  of  this 
design. 


vi 


The  Soul  hovering  over  the  Body  reluctantly  parting  with  Life. 

P.  16. 

“ . . . How  wishfully  she  looks 
On  all  she’s  leaving,  now  no  longer  hers ! ” 


Same  signature  as  No.  ii. 

London.  Published  May  1,  1808  etc.,  (as  before).  6^-x8|  in. 

A mountainous  landscape  is  seen  through  a window  (1.).  A sketch  for 

1 26 


40  this  design,  together  with  one  for  the  title-page  and  another  for 

vi  “ Death’s  Door”  were  sold  in  one  lot,  with  four  more  sketches  by  Blake, 
in  a sale  at  Sotheby’s  on  29th  April  1862  (Lot  163,  11s.,  Rowbotham). 

vii  The  descent  of  Man  into  the  Vale  of  Death.  P.  21 

. ’Tis  here  all  meet ! ” 

Same  signature  as  No.  v.  Same  imprint  as  No.  ii.  9 fx5?  in- 

“The  pious  daughter  weeping  and  conducting  her  sire  onwards;  age, 
creeping  carefully  on  hands  and  knees ; an  elder,  without  friend  or 
kindred;  a miser;  a bachelor,  blindly  proceeding,  no  one  knows  where, 
ready  to  drop  into  the  dark  abyss ; frantic  youth  rashly  devoted  to  vice 
and  passion,  rushing  past  the  diseased  and  old,  who  totters  on  crutches ; 
the  wan  declining  virgin;  the  miserable  and  distracted  widow;  the  hale 
country  youth;  and  the  mother  and  her  numerous  progeny,  already 
arrived  in  this  valley,  are  among  the  groups  which  speak  irresistibly 
to  the  feelings.” 

The  original  water-colour  drawing  (9^x  12^  in.)  of  this  subject  is  in  the 
Print  Room.  There  exists  also  an  unengraved  design  (formerly  in  Butts’  col- 
lection) connected  with  the  illustrations  of  Young’s  “ Night  Thoughts,” 
which  has  some  resemblance  to  the  above.  See  Gilchrist’s  “ Life  ” (ed. 
1880),  vol  i.  pp.  271-2. 

viii  The  Day  of  Judgment.  P.  28 

Same  signature  & imprint  as  No.  ii.  io^x8f  in. 

Christ  coming  to  judgment  in  the  clouds  of  heaven,  with  the  “Thrones 
set,  and  the  Books  opened.”  On  His  knees  lies  the  Book  of  Life. 
The  Recording  Angels  kneel  on  each  side  of  the  throne,  and  the 
elders  are  also  seated  on  each  side  of  Him  to  judge  the  world.  Sur- 
rounding the  throne,  are  the  blessed,  entering  into  their  joy ; and 
arising  from  these,  on  each  hand,  are  two  clouds  of  figures:  one  with 
the  insignia  of  Baptism;  the  other  with  the  insignia  of  the  Lord’s 
Supper,  enclosing  a glorification  of  angels,  with  harps.  Beneath  on  the 
right  hand  of  Christ,  are  the  blessed,  rising  in  the  air  to  judgment; 
on  the  left  hand  are  the  cursed.  Some  are  precipitating  themselves  from 
the  face  of  Him  that  sitteth  on  the  Throne  (among  them  is  Satan, 
wound  round  with  a Serpent),  others  are  pleading  their  own  righteous- 
ness, and  others,  beneath,  fleeing  with  banners  and  spears  among  the 
rocks,  crying  to  the  “rocks  to  cover  them.”  Beneath  these  are  re- 
presented the  harlot’s  mystery,  and  the  dragon,  who  flee  before  the  face 
of  the  Judge.  In  the  centre,  standing  on  the  midst  of  the  Earth,  is 
the  angel  with  the  last  trumpet.  On  each  side  of  him  is  an  angel : that  on 

127 


40  the  left  is  drawing  his  sword  on  the  wicked ; that  on  the  right  is 
viii  sheathing  his  sword  on  the  just,  who  are  rising  in  various  groups,  with 
joy  and  affection,  family  by  family.  The  angel  with  the  trumpet,  and  his 
accompanying  ministers  of  judgment,  are  surrounded  by  a column  of 
flame,  which  spreads  itself  in  various  directions  over  the  earth,  from 
which  the  dead  are  bursting  forth,  some  in  terror,  some  in  joy.  On  the 
opening  cloud,  on  each  hand  of  Christ,  are  two  figures,  supporting  the 
books  of  remembrance:  that  over  the  just  is  beheld  with  humiliation; 
that  over  the  wicked  with  arrogance.  A sea  of  fire  issues  from  beneath 
the  throne  of  Christ,  destructive  to  the  wicked,  but  salutary  to  the 
righteous.  Before  the  sea  of  Fire  the  clouds  are  rolled  back,  and  the 
heavens  “are  rolled  together  as  a scroll.” 

Two  similar  elaborate  descriptions  by  Blake  of  pictures  of  the  Last 
Judgment  are  to  be  found  (i.)  in  the  letter  to  Ozias  Humphrey,  printed 
on  pp.  198-202  of  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B. 
Russell  (1906)  and  (ii.)  in  Gilchrist’s  “Life”  (ed.  1880)  vol.  ii.  pp. 
185-200.  The  actual  picture  described  in  the  former  page  is  reproduced 
facing  p.  199  of  “The  Letters”;  see,  also,  note  2 on  pp.  198-9  of  the 
same  volume,  where  various  other  versions  of  the  subject  by  Blake  are 
noticed.1 

ix  The  Soul  exploring  the  recesses  of  the  Grave.  P.  29 
Same  signature  & imprint  as  No.  ii.  9|x4§  in. 

“ The  Soul,  prior  to  the  dissolution  of  the  Body,  exploring  through  and 
beyond  the  tomb,  and  there  discovering  the  emblems  of  mortality  and  of 
immortality.” 

The  Print  Room  has  a pencil  sketch  (10x5^  in.)  for  this  subject. 

x The  Death  of  the  Good  Old  Man.  P.  30 

“ . . . Sure  the  last  end 
Of  the  good  Man  is  peace  ! How  calm  His  exit ! ” 

Same  signature  as  No.  v.  Same  imprint  as  No.  ii.  8x  io|  in. 

“ Never  perhaps  were  two  subjects  more  happily  conceived,  and  beauti- 
fully contrasted,  than  this  and  the  former.2  In  that  all  is  confusion,  hurry, 
and  terror ; in  this  are  perfect  repose,  beatic  hope,  and  heavenly  consola- 
tion. Peace  in  his  countenance,  his  hand  on  the  gospel,  his  soul  devoutly 
ascending  to  eternal  bliss,  his  affectionate  children,  some  in  prayer,  others 

1 For  a full  analysis  of  Blake’s  treatment  of  the  subject,  see  The  Edinburgh  Review,  January  1906, 
“ The  Visionary  Art  of  William  Blake  ” (by  the  present  writer). 

2 No.  v.  above  ; the  order  of  the  plates  as  they  appear  in  the  book  does  notjjcorrespond  with  that 
assigned  to  them  in  the  descriptive  text  at  the  end. 

128 


(4°  xi) 


40  believing,  or  at  least  anxiously  hoping,  that  he  still  lives;  all  denote  how 
x great  is  the  happiness  of  the  Good  Man  in  the  Hour  of  Death.” 

A somewhat  similar  subject  occurs  in  Young’s  “Night  Thoughts,”  see 
No.  17,  xxiii.  above. 

xi  Death’s  Door.  P.  32 

“ ’Tis  but  a night,  a long  and  moonless  Night, 

We  make  the  Grave  our  Bed,  and  then  are  gone ! ” 

Same  signature  and  imprint  as  No.  ii.  9^X5tV  in. 

“ The  Door  opening,  that  seems  to  make  utter  darkness  visible ; age,  on 
crutches,  hurried  by  a tempest  into  it.  Above  is  the  renovated  man  seated 
in  light  and  glory.” 

A fine  pencil  sketch  (i7^x  12J  in.)  of  this  design  was  in  the  possession 
of  the  late  Mr  Frederic  Shields.  For  the  version  of  “Death’s  Door” 
alleged  to  have  been  engraved  by  Blake  himself,  see  No.  21. 

xii  The  Reunion  of  the  Soul  & the  Body.  P.  32 
Same  signature  and  imprint  as  No.  ii.  9ttx6tI  in. 

“The  Body  springs  from  the  grave,  the  Soul  descends  from  an  opening 
cloud ; then  rush  together  with  unconceivable  energy  ; they  meet,  never 
again  to  part ! ” 

The  descriptions  appearing  in  inverted  commas  above,  are  taken  from  the 
analysis  “Of  the  Designs”  which  is  appended  to  the  original  volume 
(pp.  33-36),  with  the  following  note  prefixed: — “By  the  arrangement 
here  made,  the  regular  progression  of  Man,  from  his  first  descent  into  the 
Vale  of  Death,  to  his  last  admission  into  Life  eternal,  is  exhibited.  These 
Designs,  detached  from  the  Work  they  embellish,  form  of  themselves  a 
most  interesting  Poem.” 

For  the  circumstances  attending  the  production  of  the  volume  see  pp. 
42-44  of  the  text.  Blake’s  original  finished  drawings  for  the  “Grave” 
have  nearly  all  disappeared.  The  following  are  mentioned  by  Flaxman, 
in  the  letter  already  quoted,  as  being  among  the  most  striking  of 
those  which  were  at  the  time  completed: — “The  Gambols  of  the 
Ghosts  according  to  their  affections  previous  to  the  final  Judgment”; 
“ A widow  embracing  the  turf  which  covers  her  Husband’s  Grave  ” ; 
“Wicked  Strong  Man  Dying”;  and  “The  good  Old  Man’s  Soul  re- 
ceived by  Angels.”  Of  the  four,  the  second  only  has  survived 1 ; it 
is  now  in  the  possession  of  Miss  Louisa  Salaman.  There  is  in  the  Print 
Room  a water-colour  drawing  of  singular  beauty  intended  to  accompany 

1 A pencil  sketch  (5^  x iot3f  in.)  of  it  is  in  the  Print  Room. 

129 


1 


40  the  dedicatory  address  “To  The  Queen,”  which,  however,  was  not  used 
xii  for  the  purpose.1  These  two,  besides  the  two  rejected  designs  for  the 
title-page  and  the  few  slight  studies  already  mentioned,  are  all  that  remain 
of  Blake’s  original  work  in  connection  with  the  volume. 

Luigi  Schiavonetti  (1765-18  10),  the  engraver  of  the  designs,  was  a native 
of  Bassano  in  Venetia ; he  came  in  1790  to  England  and  continued  to 
work  there  until  his  death.  The  present  series  of  prints  is  his  most 
important  achievement.  He  was  afterwards  again  employed  by  Cromek  as 
the  engraver  of  Stothard’s  painting  of  the  “Canterbury  Pilgrims”;  but 
he  did  not  live  to  finish  the  work.  It  must  have  been  at  the  end  of  1805 
or  the  beginning  of  1806  that  he  came  to  supplant  Blake  as  the  engraver 
of  the  designs  for  Blair.  An  early  proof  of  “ Death’s  Door,”  seen  by  the 
writer,  in  the  possession  of  Mr  F.  W.  Bourdillon,  has  the  date  1 st  February 
1806  imprinted  upon  it.2  The  work  was  finished  by  1st  May  1808,  which 
is  the  date  of  all  the  imprints  of  the  engravings  in  their  published  state. 
Proof  copies  of  the  book  are  marked  upon  the  title-page  “ Proof  Copy. 
R.  H.  C.  Price  £5.  5.  o.”  In  some  of  these  the  plates  are  printed  upon 
India  paper.  “Subscribers’  copies”  are  so  marked  upon  the  title-page,  and 
should  possess  upon  their  covers  a paper  label  inscribed,  “ Blake’s  Illustra- 
tions of  Blair’s  Grave,  Engraved  by  Schiavonetti.  13  Plates. — 21.  12s.  6d.” 
Trifling  differences  will  be  observed  between  proof  and  ordinary  examples 
of  some  of  the  prints  in  the  lettering  below.  Upon  Cromek’s  death  in 
March  1 8 1 2,  “ to  raise  money”  says  Gilchrist,3  “for  the  completion  of 
the  engraving  of  Stothard’s  Pilgrimage,”  the  remainder  and  copyright  of 
the  book  were  sold  by  his  widow  for  £120  to  the  Ackermanns,  by  whom 
it  was  reissued  in  1813.  The  original  date,  1808,  stands  upon  the  first 
title-page  of  the  new  edition ; the  second  title  bears  Ackermann’s  name 
and  the  date  1813.  The  prints  are  all  dated  in  the  imprint  1st  March 
1813,  with  the  name  R.  Ackermann,  as  the  publisher.  The  plates  after- 
wards served  to  illustrate  the  “ Meditaciones  Poeticas  ” of  Jose  Joaquim 
de  Mora,  published  in  1826;  and  were,  according  to  Gilchrist,4  again 
subsequently  employed  for  an  American  edition  of  Martin  Tupper’s 
“Proverbial  Philosophy.”  The  original  edition  of  the  “Grave”  appeared 
in  1743. 

1 It  is  the  subject  of  the  letter  from  Cromek  to  Blake,  dated  May  1807,  printed  on  pp.  193-197  of 
“The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906).  A feminine  spirit,  holding  in 
each  hand  a key,  floats  upwards  from  a body  lying  wrapped  in  grave  clothes  upon  the  ground  to  a 
golden  door  of  Gothic  form  at  the  top  of  some  steps  (r.). 

2 The  imprint  reads,  “London.  Published  by  R.  H.  Cromek.  February  1st  1806”  ; the  paper  has  the 
watermark,  “ J.  Whatman,  1806.” 

3 The  “Life”(ed.  1880),  vol.  i.  p.  289. 

4 Ibid.  p.  271. 


130 


41  A TREATISE  ON  ZODIACAL  PHYSIOGNOMY  ; ILLUSTRATED 
WITH  ENGRAVINGS  OF  HEADS  AND  FEATURES.  BY 
JOHN  VARLEY. 

London.  1828  (41:0  pamphlet,  issued  in  grey  paper  wrappers). 

An  outline  engraving  of  the  “Ghost  of  a Flea  from  Blake’s  Vision” 
appears  (together  with  two  other  heads)  upon  the  last  plate,  which  is 
signed : — -J.  Linnel  sc.  J . Varley  inv. 


42  THE  SERAPH.  A COLLECTION  OF  SACRED  MUSIC.  BY 
JOHN  WHITAKER 

(2  vols.  4to.  n.d.  c.  1830)  Vol.  2. 

One  of  Blake’s  designs  for  Young’s  “Night  Thoughts”  (No.  17,  xvii. 
above)  is  re-engraved  on  the  title-page  of  the  second  volume  of  this 
work. 

Conscience  & the  recording  Angel.  Toung’s  “ Nt.  Thoughts  ” 
See  Page  1,  Vol.  2 of  this  work 

Drawn  by  the  late  W.  Blake  Esq.,  R.A.  Engraved  by  P.  Jones, 
36,  Theobald’s  Rd. 

On  p.  1 is  found  the  following  “ Explanation  of  the  Frontispiece  ” : — 
“ Conscience ; as  a recording  angel,  veiled,  in  the  act  of  noting  down 
the  sin  of  intemperance  in  a Bacchanalian.” 

An  introductory  epistle  to  the  volumes  bears  the  date  1818;  it  is 
evident,  however,  that  they  were  not  actually  published  until  after 
Blake’s  death.  The  letters  “ R.A.”  are  erroneously  appended  to  Blake’s 
name;  he  was  never  elected  to  the  Academy. 


III.-—PRINTS  ENGRAVED  BY  BLAKE,  BUT  NOT 

DESIGNED  BY  HIM 


43  (a)  A SYSTEM  OF  GEOGRAPHY 

(Published  in  1779.) 

The  author  has  failed  to  see  a copy  of  this  edition  The  particulars  given 
below  (b)  are  from  a new  edition  issued  in  1785. 

The  Robert  Balmanno  collection  of  Stothard’s  works,  now  in  the  Print 
Room,  contains  (vol.  i.  no.  18)  a proof  impression  of  the  frontispiece, 
engraved  by  Blake  after  Stothard,  lettered  in  pencil  as  follows : — 
“ Stothard  del*.  Blake  sc.  The  four  quarters  of  the  World.  Frontispiece 
to  a system  of  Geography,  1779.” 

(b)  A NEW  SYSTEM  OF  GEOGRAPHY.  BY  THE  LATE 

fenning  and  j.  collyer.  a new  edition,  revised, 

ENLARGED  AND  ' IMPROVED,  BY  FREDERICK  HERVEY, 
ESQ.  VOL.  I. 

London:  Printed  for  J.  Johnson,  No.  72,  and  G.  and  T.  Wilkie,  No.  71, 
in  St  Paul’s  Church  Yard.  MDCC.LXXXV.  (Folio.) 

The  frontispiece  (designed  by  Stothard)  and  one  other  plate  are  engraved 
by  Blake. 

i Asia  and  Africa  characterised  by  a representation  of  their 
Various  Inhabitants 

Published  June  6th,  1784;  by  G.  Wilkie,  St  Paul’s  Church  Yard. 
Frontispiece.  Vol.  I. 

Line.  Outside  measurement  (including  ornamental  border),  iotoX7j  in; 
subject,  6tIx  4^  in. 

Eleven  figures,  representing  the  inhabitants  of  Asia  and  Africa,  are 
grouped  together  in  an  architectural  setting  of  arches  and  columns.  In 
the  middle,  a woman,  swinging  a censer,  is  addressed  by  a Chinaman  (r.). 
Three  Africans  (1.),  with  a lion,  some  natives  of  India,  and  various  other 
figures  stand  around  her.  A young  woman,  kneeling  on  the  ground  m 
front,  lifts  her  veil  and  looks  up  at  her. 

The  subject  is  enclosed  in  an  elaborate  ornamental  border  of  palm  trees, 
wreaths,  etc.,  lettered  at  the  top: — “ Engraved  for  Hervey’s  New  System 
of  Geography.”  It  bears  no  name  either  of  designer  or  engraver. 

ii  Vol.  i.  page  583.  No.  16. 

(A  GROUP  OF  FIVE  OVAL  DESIGNS,  REPRESENTING  VARIOUS  SAVAGE 
TYPES,  LETTERED  ABOVE: cc  ENGRAVED  FOR  HeRVEy’s  N EW  SYSTEM 

of  Geography”) 

Blake  sc.  Publish’d  April  16th,  1785  by  G.  & T.  Wilkie,  St  Paul’s 
Church  Yard.  Line.  8-|x6xf  in. 


i35 


43  The  figures  are  lettered  as  follows: — top  (1.),  “A  Man  of  Prince 
ii  William’s  Sound”;  top  (r.),  “A  Woman  of  Prince  William’s  Sound”; 
in  the  centre,  “Poulahs  King  of  the  Friendly  Islands”;  bottom  (1.),  “A 
Man  of  Van  Diemen’s  Land”;  bottom  (r.),  “A  Woman  of  Van  Diemen’s 
Land  ” (with  a baby  on  her  back).  Between  the  two  upper  figures  are 
inscribed  the  words: — “In  Latitude  62°  North”;  and  between  the  two 
lower  figures: — “In  Latitude  430  South.” 


44  (UNKNOWN  SUBJECT  AFTER  STOTHARD) 

A proof  in  the  Robert  Balmanno  collection  of  Stothard’s  works  in  the 
Print  Room  (vol.  i.  No.  19)  is  lettered  in  pencil: — Wm.  Blake.  1779 
engd.  T.  St ot hard  inv 

Outside  measurement,  7^x5!  in.;  subject,  6 1VX4J;  in. 

Three  male  figures  mount  some  steps  leading  under  an  archway  through 
which  appears  a gallery  supported  by  columns.  A priest  (r.),  of  whom 
they  make  inquiry,  points  to  a picture  on  the  wall  (r.). 

The  design  is  surrounded  by  an  engraved  framework,  decorated  with  a 
wreathed  female  head  issuing  from  a lyre  (at  the  top),  and  other 
ornaments.  An  illustration  of  a book,  unidentified. 


45  THE  SPEAKER:  OR,  MISCELLANEOUS  PIECES,  SELECTED 
FROM  THE  BEST  ENGLISH  WRITERS.  BY  WILLIAM 
ENFIELD,  L.L.D. 

London : Printed  for  foseph  Johnson,  St  Paul’s  Church-yard, 

MDCCLXXIV.1  (i2mo.) 

One  of  the  plates  (that  facing  p.  302),  is  engraved  by  Blake  after 
Stothard. 

“ Clarence’s  Dream.”  Book  VII.  chap.  22. 

“ . . . Then  came  wand’ring  by 
A shadow  like  an  Angel,  with  bright  hair 
Dabbled  in  blood,  and  he  shriek’d  out  aloud  : 

‘ Clarence  is  come,  false,  fleeting  perjur’d  Clarence, 

That  stabb’d  me  in  the  field  by  Tewksbury, 

Seize  on  him,  furies,  take  him  to  your  torments  ! ’ ” 

Shakespeare. 


1 In  spite  of  the  year  1774  upon  the  title-page  of  this  volume,  all  the  plates  in  it  are  dated  1780, 


136 


45  Stothard  del.  Blake  sc.  Publish’d  as  the  Act  directs,  by  J.  Johnson  in 
St  Pauls  Church  Yard,  i Aug.  1780.  Line  ; 415.x  2 f in. 

Clarence  kneels  cowering  in  the  under-world.  An  angel  descends  upon 
him  (r.),  out  of  the  darkness,  and  beckons  to  three  fiends  who  menace 
him  behind. 


46  MORNING  AMUSEMENT 

(Engraved  by  Wm.  Blake,  after  Watteau,  1782.)  Stipple;  an  oval 
design,  within  a square,  12x12  in. 

This  print  has  not  been  seen  by  the  writer;  the  above  particulars  are 
taken  from  a catalogue  of  second-hand  books  issued  by  Messrs  Henry 
Young  & Sons,  booksellers  of  Liverpool  (7th  Oct.  1911),  where  the 
following  description  of  the  print  is  given “ A pretty  landscape,  with 
young  ladies,  gentlemen,  and  attendants,  dogs,  dead  game,  and  a pony 
in  the  foreground.”  “ Le  Rendez-vous  de  Chasse  ” in  the  Wallace 
Gallery  (No.  416)  may  perhaps  be  the  original? 

47  AN  INTRODUCTION  TO  MENSURATION  AND  PRACTICAL 
GEOMETRY:  BY  JOHN  BONNYCASTLE.1  1782.  (i2mo) 

The  frontispiece  is  engraved  by  Blake  after  Stothard. 

(A  GROUP  OF  AMORINI,  AMONG  RUINS,  STUDYING  GEOMETRY) 

Stothard  del.  Blake  sc.  Line;  2^x3^  in. 

A group  of  six  amorini  are  engaged  in  the  study  of  geometry  in  a place 
of  ruins.  To  r.  are  remains  of  ancient  columns,  and  in  the  background 
to  1.,  a pyramid. 

The  Robert  Balmanno  collection  of  Stothard’s  works  in  the  Print  Room 
contains  a proof  of  the  print  on  India  paper.  The  design  was  re-engraved 
for  the  later  editions  of  the  work;  e.g.  the  10th  ed.  (1807)  has  the 
plate  signed  by  J.  Dudley,  and  in  the  13th  (1823),  C.  G.  Cooke  is  the 
engraver. 

48  THE  POETICAL  WORKS  OF  JOHN  SCOTT  ESCh 
London.  Printed  for  J.  Buckland,  MDCCLXXXII.  (8vo.) 

Contains,  besides  other  engravings,  two  oval  plates  and  a couple  of 
tail-pieces  engraved  by  Blake. 

1 1750  ?-i82I  ; author  of  various  works  on  elementary  mathematics  ; was  a close  friend  of  the  painter, 
Fuseli  (see  Knowles’s  “Life  of  Fuseli,”  1831,  vol.  i.  passim),  to  whom  the  author  was  doubtless 
indebted  for  the  services  both  of  the  designer  and  the  engraver  of  the  plate. 

137 


48  Damon  at  Delia’s  Tomb.  Eclogue  IV.  (Tail-piece,  p.  21) 

1 Stothard  del.  Blake  sc.  Line;  2fx3f  in. 

Damon  stands  (r.),  with  his  elbow  resting  upon  Delia’s  tomb.  Two 
shepherds  look  on  (1.).  Moonlight  landscape,  with  trees. 

ii  (Frontispiece  to  the  Elegies,  facing  p.  23) 

“ There  is,  who  deems  all  climes,  all  seasons  fair 
Contentment,  thankful  for  the  gift  of  life .” 

Elegy  IV. 

Stothard  del.  Blake  sc.  Line;  2§X3|  in.  (oval). 

A draped  woman,  representing  Contentment,  sits  in  the  foreground. 
Allegorical  figures  of  the  four  seasons,  joining  hands,  pass  behind  her. 

hi  (Frontispiece  to  “The  Mexican  Prophecy,”  facing  p.  247) 

“ Warriors  ! let  the  Wretches  live  ! 

Christians  ! pity  and  forgive 

Stothard  del.  Blake  sc.  Line;  2-|x3§  in.  (oval). 

Olmedo,  chaplain  to  Cortes,  restrains  some  Spanish  horsemen  from 
punishing  Montezuma’s  magicians  who,  with  magic  fires,  invoke  their 
god  for  vengeance. 

iv  (Tail-piece  to  the  last  poem,  p.  335) 

Stothard  d.  Blake  sc.  Line;  3^x3!  in. 

A young  lady  (I.),  lays  a scroll  upon  a wreathed  altar  (r.),  inscribed — 
“ Sacred  to  Simplicity.”  Background  of  trees. 

A volume  of  miscellaneous  Blake  items,  sold  at  Sotheby’s,  9th  Dec.  1905 
(Lot  921,  No.  42),  and  again,  15th  Dec.  1906  (Lot  482,  No.  42), 
contained  a pencil  drawhng  (with  some  ink  outline)  by  Blake  (measuring 
9 in.)  of  a quasi-classical  figure  looking  at  a tombstone  with 
“Sacred  to  . . .’’on  it,  probably  to  be  connected  with  this  engraving; 
it  was  not  however  seen  by  the  author. 


49  THE  NOVELIST’S  MAGAZINE.  (Vols.  viii.,  ix.  and  x.) 

London:  Printed  for  Harrison  and  C0.,  N°.  18  Paternoster  Row. 

1782  (-1783).  (4to.) 

Vol.  viii.  contains  two  plates  engraved  by  Blake, — both  for  “ Don 
Quixote”;  vol.  ix.  contains  three  plates  engraved  by  Blake — one  each 
for  “A  Sentimental  Journey,”  “David  Simple,”  and  “Sir  Launcelot 

138 


49 


Greaves”;  vol.  x.  contains  three  plates  engraved  by  Blake,  all  for 
“ Sir  Charles  Grandison.”  The  Novels  were  first  issued  in  parts  and  each 
after  its  completion  was  separately  bound.  See  the  five  following 
numbers  for  descriptions  of  Blake’s  plates. 


49a  THE  HISTORY  AND  ADVENTURES  OF  THE  RENOWNED 
DON  QUIXOTE.  TRANSLATED  FROM  THE  SPANISH  OF 
MIGUEL  DE  CERVANTES  SAAVEDRA,  BY  DR  SMOLLETT. 
In  four  Volumes.  London:  Printed  for  Harrison  and  Co.  No.  18,  Pater- 
noster-Row.  MDCCLXXXII.  (See  the  preceding  No.) 

Contains  two  plates  engraved  in  line  by  Blake  after  Stothard.  The  sub- 
jects are  enclosed  in  an  ornamental  border,  with  the  title  “ Don  Quixote  ” 
in  a panel  below. 

i (The  Decision  of  the  Doubts  concerning  Mambrino’s  Helmet.) 
Plate  IX.  (facing  p.  256) 

Stothard  del.  Blake  sculp.  Published  as  the  Act  directs  by  Harrison 
& C0.,  May  4,  1782.  Outside  measurement,  6T1_X3§  in.;  subject, 
+§X  213  in. 

The  scene  takes  place  before  a group  of  people  outside  an  inn. 

ii  (The  peaceful  Deatfi  of  Alonzo  Luixano,  otherwise  Don  Quixote.) 
Plate  XV.  (facing  p.  58  7) 

Stothard  del.  Blake  sculp.  Published  as  the  Act  directs,  by  Harrison 
& C0.,  June  15,  1782.  Outside  measurement,  6|  x 4 in.;  subject, 

4fix  2 1 in. 

Don  Quixote  lies  in  bed  (1.).  A woman  bends  over  him.  His  armour  hangs 
on  the  wall  above  the  bed.  A notary  sits  writing  in  front  (1.).  A group  of 
standing  figures,  to  r. 

49b  A SENTIMENTAL  JOURNEY  THROUGH  FRANCE  AND  ITALY, 
BY  MR.  YORICK.'  BY  THE  REV.  MR.  STERNE.  IN  TWO 
VOLUMES 

London:  Printed  for  Harrison  & Co.  No.  18,  Paternoster-Row. 
MDCCLXXXII.  (See  No.  49  above.) 

Contains  a plate  engraved  in  line  by  Blake  after  Stothard.  The  subject 
is  enclosed  in  an  ornamental  border  and  lettered  “ Sentimental  Journey  ” 
below. 


i39 


49b  (The  Dance  of  the  Peasants  as  a Thanksgiving  after  Supper.) 
Plate  II.  (facing  p.  52) 

Stothard  del.  Blake  sculp.  Published  as  the  Act  directs  by  Harrison 
£c  Co.  July  6,  1782.  Outside  measurement,  6|x4tT-  in.;  subject, 

4|x2i|  in. 

Yorick  sits  outside  a cottage  between  an  old  man,  playing  a fiddle,  and 
an  old  woman.  Some  peasants  dance  before  them. 


49c  THE  ADVENTURES  OF  DAVID  SIMPLE.  BY  MISS  FIELDING. 
IN  TWO  VOLUMES 

London : Printed  for  Harrison  and  Co.  No.  1 8,  Paternoster-Row. 

MDCCLXXXII.  (4to.)  (See  No.  49  above.) 

The  first  plate  is  engraved  in  line  by  Blake  after  Stothard. 

The  Subject  is  enclosed  within  an  ornamental  border  inscribed  (below) 
“ David  Simple.” 

(I)avid  pays  the  Landlady  her  Rent,  and  relieves  the  Distresses 
of  the  Young  Couple.)  Plate  I. 

Stothard  del.  Blake  sculp.  Published  as  the  Act  directs,  by  Harrison  & 
Co.  Aug.  10,  1782.  Outside  measurement,  6^.  x 4§  in.;  subject, 
4AX2|  in. 

David  Simple  (r.)  enters  a garret  and  finds  there  a young  woman  (1.) 
sitting  by  the  bedside  of  a suffering  youth  from  whom  the  landlady  (r.) 
furiously  demands  her  rent. 


49d  THE  ADVENTURES  OF  SIR  LAUNCELOT  GREAVES.  BY  DR 
SMOLLETT.  IN  TWO  VOLUMES 

London:  Printed  for  Harrison  and  Co.  No.  18,  Paternoster-Row. 
MDCCLXXXIII.  (See  No.  above.) 

Plate  III.  (facing  p.  45)  is  engraved  in  line  by  Blake  after  Stothard. 

The  subject  is  enclosed  within  an  ornamental  border  inscribed  (below) 
“ Launcelot  Greaves.” 

Stothard  del.  Blake  sculp. 

(Sir  Launcelot  enjoying  the  Humours  of  a General  Election.) 
Plate  III. 


49d  Stothard  del.  Blake  sculp.  Published  as  the  Act  directs  by  Harrison  & 
Co.  Sep.  21,  1782.  Outside  measurement,  x 4 in.;  subject,  411  x 2|  in. 

Sir  Launcelot  in  armour,  mounted  on  his  steed,  is  about  to  address  the 
multitude,  while  Mr  Vanderpelft  is  being  hoisted  on  the  shoulders  of 
the  four  strong  weavers  (1.). 

49e  THE  HISTORY  OF  SIR  CHARLES  GRANDISON.  ON  A SERIES 
OF  LETTERS.  BY  MR  SAMUEL  RICHARDSON.  In  seven  volumes 

London:  Printed  for  Harrison  and  Co.  No.  18,  Paternoster-Row. 
MDCCLXXXIII. 

Contains  three  plates  engraved  in  line  by  Blake  after  Stothard.  The 
subjects  are  enclosed  in  an  ornamental  border  and  lettered  “Grandison” 
below. 

i  (Miss  Byron  visiting  Miss  Emily  Jervoise  in  her  Bedroom.)  Plate 
XXIII.,  facing  p.  328  (vol.  iii.) 

Stothard  del.  Blake  sculp.  Published  as  the  Acts  directs,  by  Harrison  & 
Co.  Apr.  5,  1783.  Outside  measurement,  6^x4^  in.;  subject,  411x2! 
in. 

Miss  Byron  enters  Emily’s  bedroom  and  is  met  at  the  door  by  her  maid. 
Emily  stands  behind  the  maid  at  the  head  of  the  bed  (r.). 

ii  (Sir  Charles  repelling  the  insulting  conduct  of  O’Hara  and 
Salmonet.)  Plate  VI.,  facing  p.  351  (vol.  iii.) 

Stothard  del.  Blake  sculp.  Published  as  the  Act  directs,  by  Harrison  & 
Co.  Dec.  7,  1782.  Outside  measurement,  6^x4!  in*  > subject,  4|x2i|. 
in. 

Salmonet  is  laid  on  the  floor,  while  O’Hara  c<  skips  about,  as  if  he  watched 
for  an  opportunity  to  make  a push  with  safety  to  himself.”  Mrs  Jervoise 
runs  out  of  the  room. 

iii  (Grandison’s  painful  interview  with  Clementina  and  her  mother.) 
Plate  XII.,  facing  p.  442  (vol.  iii.) 

Stothard  del.  Blake  sculp.  Published  as  the  Act  directs  by  Harrison  and 
Co.  Jan.  18,  1783.  Outside  measurement,  6^x4  in.;  subject,  4x9gX  in. 

Sir  Charles  enters  the  room  (r.).  Lady  Clementina  rises  from  her  seat, 
with  a book  in  her  hand,  while  the  Marchioness  turns  away,  with  a 
handkerchief  over  her  eyes. 

141 


50  THE  LADY’S  POCKET  BOOK 

A periodical,  edited  by  Dodsley.  The  numbers  for  1782  and  1783 
contain  frontispieces  engraved  in  line  by  Blake  after  Stothard. 

“The  Lady’s  Pocket  Book”  is  not  to  be  found  in  the  British  Museum, 
and  the  writer  has  been  unable  to  meet  with  it  elsewhere.  The  Robert 
Balmanno  collection  of  Stothard ’s  works  in  the  Print  Room  contains, 
however,  examples  of  the  two  plates,  printed  side  by  side  on  a single 
sheet. 

i The  Morning  Amusements  of  her  Royal  Highness  the  Princess 
Royal  & her  4 Sisters 

Stothard  del.  Blake  sc.  Published  by  J.  Johnson,  St  Paul’s  Church 
Yard,  Nov1'.  1,  1782.  3II X 5 in. 

The  Princess  sits  at  a piano  (r.),  with  her  music  master  behind  her.  One 
of  her  sisters,  with  a child  in  her  arms,  stands  over  her.  Another  sister, 
sitting  in  front  to  1.,  is  doing  needlework,  and  a fourth  sits  by  her, 
teaching  a child  to  read. 

ii  A Lady  in  the  full  Dress,  & another  in  the  most  fashionable 
Undress  now  worn 

T.  S.  d.  W.  B.  sc.  3ifx2jnr  in. 

The  two  ladies  stand  upon  a lawn  against  a background  of  trees. 


51  BELL’S  EDITION.  THE  POETS  OF  GREAT  BRITAIN  COM- 
PLETE FROM  CHAUCER  TO  CFIURCHILL.  CHAUCER.  Vol.  xiii. 

London.  Printed  for  John  Bell,  British  Library,  Strand.  May  24th,  1783. 
The  frontispiece  (a  circular  design,  within  an  ornamental  border  inscribed 
with  the  title  as  above)  is  engraved  in  line  by  Blake  after  Stothard. 

“ Sampson  yhad  experience 
That  Women  were  ful  trew  ifound.” 

“In  Praise  of  Women,”  11.  81,  82. 

Stothard  del.  Blake  sculp1.  4TVx2-|  in.  Measurement  of  design,  circular 
2-|  in.  in  diam. 

Sampson  is  discovered  by  three  Philistines,  asleep  on  Delilah’s  knees. 

52  SATAN 

Stothard  del.  Blake  sc.  Line ; a circular  design  (2§  in.  in  diam.),  within 
an  engraved  framework  (4^x2^  in.). 

Satan,  armed  with  a spear,  takes  his  flight  through  space. 

142 


52  The  print  was  evidently  intended  for  Bell’s  edition  of  “The  Poets  of 
Great  Britain  ” (see  the  preceding  No.),  since  it  corresponds  both  in  its 
measurements  and  in  the  pattern  of  its  decorative  border  with  the 
illustrations  of  that  series ; it  was  not,  however,  made  use  of  in  that 
connection.  An  example  of  the  print  (a  proof  on  India  paper)  in  the 
Robert  Balmanno  collection  of  Stothard’s  works  in  the  Print  Room 
(vol.  i.  No.  20)  is  included  under  the  year  1779. 

53  ORLANDO  FURIOSO : TRANSLATED  FROM  THE  ITALIAN 
OF  LUDOVICO  ARIOSTO;  WITH  NOTES:  BY  JOHN  HOOLE. 
In  five  volumes.  Vol  iii.  London.  M,DCC,LXXXIII. 

The  frontispiece  to  vol.  iii.  is  engraved  in  line  by  Blake  after  Stothard. 
Vol.  3.  Page  164. 

Stothard  del.  Blake  sc.  5§X4^  in. 

Orlando,  naked  and  insane,  casts  from  his  shoulder  an  uprooted  pine. 
His  armour  lies  scattered  upon  the  ground  behind  him.  His  horse  tethered 
to  a tree  beyond,  plunges  in  terror.  Two  rustics,  in  the  background,  peer 
through  a gap  in  the  trees. 

In  the  second  (1785)  edition  the  print  faces  p.  164  of  vol.  iii  of  the  text. 
In  the  third  (1791)  edition,  the  poem  was  “reduced  to  xxiv.  books  ” and 
issued  in  two  volumes;  Blake’s  engraving  faces  p.  461  of  vol.  i.  The 
Robert  Balmanno  collection  of  Stothard’s  works  in  the  Print  Room 
contains  (vol.  iii.  1 207)  an  impression  of  the  plate  marked  Vol.  3. 
Page  164  and  with  the  imprint : Published  by  Vernor  & Hood, 
Deck  1,  1798.1  Stothard’s  original  drawing  appeared  recently  in  a sale  at 
Christie’s  (16th  March  1912;  Lot  19). 

54  MEMOIRS  OF  ALBERT  DE  HALLER,  M.D.  BY  THOMAS 
HENRY 

Warrington,  Printed  by  W.  Eyres,  for  J.  Johnson,  No.  72,  St  Paul’s 
Church  Yard,  London,  MDCCLXXXIII.  (sm.  8vo.) 

The  frontispiece  is  a portrait  of  Haller  engraved  in  line  by  Blake  after 
Dunker. 

Albert  de  Haller  2 

Dunker  d.  Blake  sc.  Circular,  2xV  in.  in  diam. 

Head  and  shoulders.  Three  quarter  face,  looking  to  r.  A man  with  a 
shaven  face  and  grey  hair,  wearing  a cap. 

1 From  an  edition  Printed  for  Otridge  Son,  1799,  5 vols. 

2 Albrecht  von  Haller  (1708-1777),  Swiss  anatomist  and  physiologist. 

H3 


55  A SELECT  COLLECTION  OF  ENGLISH  SONGS 


In  three  volumes.  London  : Printed  for  Johnson  in  St  Pauls  Church- 
yard. MDCCLXXXIIl.  (8vo.) 

Seven  of  the  illustrations  were  engraved  by  Blake  after  Stothard. 
Volume  the  first. 

i (Head-piece.  P.  i) 

Stothard  del.  Blake  sc.  2TVx3§  in. 

A young  cavalier  kneels  in  adoration  (r.)  before  a disdainful  beauty 
sitting  by  a column  (1.).  Landscape  background. 

ii  (Tail-piece.  P.  85) 

Stothard  del.  Blake  sc.  2tVx3§  in. 

A young  woman  sits  (r.)  upon  a rock  beneath  an  overhanging  cliff  by 
the  sea ; she  turns  her  head  back  over  the  water,  and  is  dismayed  by 
the  sight  of  the  naked  body  of  a youth  being  borne  by  the  waves 
towards  her.  The  subject  is  evidently  taken  from  the  story  of  Hero  and 
Leander. 

iii  (Head-piece.  P.  86) 

Stothard  d.  Blake  sc.1  2T0X3A-  in. 

Cupid,  leaning  against  a tree  (1.)  plays  on  the  lute  before  his  mother, 
Venus,  who  is  enthroned  (r.),  with  three  attendants  (?  the  Three 
Graces),  behind  her. 

iv  (Head-piece.  P.  to8) 

Stothard  del.  Blake  sc.2  210X33;  in. 

A faithless  lover  departs,  with  his  hat  in  his  hand,  from  his  angry 
mistress,  who  throws  a letter,  a necklace  and  a glove  before  him  upon 
the  ground.  Wooded  background,  with  a tower,  to  r. 

v (Tail-piece.  P.  156) 

Stothard  del.  Blake  sc.  2^x3!  ^n- 

A group  of  youths  and  girls  dance  in  a ring  before  a fiddler  who  sits 
upon  the  ground  (r.). 

vi  (Head-piece.  P.  157) 

Stothard  del.  Blake  sc.  2tVx3§  in. 

A fair  lady  in  fashionable  dress  sits  writing  (1.)  by  the  light  of  a lamp 

1 and  2 So  signed  on  a proof  in  the  Robert  Balmanno  collection  of  Stothard’s  works  in  the  Print  Room  ; 
unsigned  in  the  published  state. 


55  which  Cupid  holds  behind  her.  A door  (r.)  opens  upon  a garden  lit  by 

vi  the  full  moon. 

vii  (Tail-piece.  P,  170) 

Stothard  del.  Blake  sc.  2-fa  x 3 in. 

A young  lady  sits  beneath  an  overhanging  rock  (1.)  by  a stream  with 
her  head  bowed  in  melancholy  reverie  ; an  open  book  lies  by  her  side. 
A pair  of  Loves  armed  with  torch  and  bow  fly  away  from  her  (r.). 

viii  (Head-piece.  P.  171) 

Stothard  del.  Blake  sc.  2 Ax  2 A in. 

1 o Jib 

A pair  of  young  lovers  converse  together  in  a vine-decked  arbour  (r.). 
A church  stands  among  trees  in  the  background  (1.). 

Volume  the  second. 

ix  (Head-piece.  P.  i) 

Stothard  del.  Blake  sc.  2TVx3tV  in. 

A group  of  youths  sit  drinking  round  a table.  One  of  them  proposes  a 
toast. 

Vol.  iii.,  containing  the  tunes  for  the  songs,  is  without  plates  by  Blake. 
The  following  account  of  these  pleasant  little  prints  is  given  by  Gilchrist 
in  the  “Life”  (ed.  1880,  vol.  i.  pp.  51  and  52): — “To  the  latter  year 
(1783)  also,  the  first  after  Blake’s  marriage,  belong  about  eight  or  nine 
of  the  vignettes  after  the  purest  and  most  lovely  of  the  early  and  best 
designs  of  the  same  artist  (Stothard) — full  of  sweetness,  refinement,  and 
graceful  fancy — which  illustrate  Ritson’s  “ Collection  of  English  Songs  ” 
(3  vols.  8vo  ) ; others  being  engraved  by  Grignon,  Heath,  &c.  In  the  first 
volume  occur  the  best  designs,  and— what  is  remarkable — designs  very 
Blake-like  in  feeling  and  conception ; having  the  air  of  graceful 
translation  of  his  inventions.  Most  in  this  volume  are  engraved  by  Blake, 
and  very  finely,  with  delicacy  as  well  as  force.  I may  instance  in  particular 
one  at  the  head  of  the  “ Love  Songs,”  a lady  singing,  Cupids  fluttering 
before  her,  a singularly  refined  composition ; another,  a vignette  to 
“Jemmy  Dawson,”  which  is,  in  fact,  Hero  awaiting  Leander;  another  to 
“ When  Lovely  Women,”  a sitting  figure  of  much  dignity  and  beauty.” 
“The  Lady  singing,  Cupids  fluttering  before  her”  does  not  appear  in 
any  example  of  the  “ Songs  ” known  to  the  writer,  either  at  the  head  of 
the  “ Love  Songs  ” or  anywhere  else,  the  head-piece  to  the  “ Love 
Songs”  being  No  i.  above. 

k 145 


56  THE  FALL  OF  ROSAMUND 


(T.  Stothard.  W.  Blake.)  (Published  by  Macklin,  1783.)  Stipple; 
circular,  12  in.  in  diam. 

An  example  of  this  print  was  seen  by  the  present  writer  some  time  ago, 
when  he  omitted  to  take  notes  of  it.  The  above  particulars  are  mainly 
derived  from  Gilchrist’s  “ Life  ” (ed.  1880),  vol.  i.  p.  5 1,  and  vol,  ii.  p.  281. 


57  ROBIN  HOOD  AND  CLORINDA 

J.  Meheux  inv.  W.  Blake  sculpt.  (Published  by  Macklin,  ? 1783)  Stipple; 
circular. 

An  example  of  this  print  was  seen  by  the  present  writer  some  time  ago, 
when  he  omitted  to  take  fuller  particulars  of  it. 


58  THE  WIT’S  MAGAZINE;  OR,  LIBRARY  OF  MOMUS,  BEING  A 
COMPLEAT  REPOSITORY  OF  MIRTH,  HUMOUR,  AND 
ENTERTAINMENT.  Vol.  i. 

London:  Printed  for  Harrison  and  Co.  No.  18,  Paternoster-Row. 

MDCCLXXXIV.  (4to.) 

The  plate  in  each  of  the  first  five  numbers  was  engraved  in  line  by  Blake. 

i The  Temple  of  Mirth.  (In  the  January  number) 

Stothard  del.  Blake  sculp.  Published  as  the  Act  directs  by  Harrison  & Co. 
Feby.  1,  1784.  6fx  9!  in. 

The  goddess  of  Mirth,  enthroned  in  the  middle,  incites  to  merriment  a 
company  of  ladies  and  gentlemen  who  are  grouped  on  either  side  of  her. 
The  wall  behind  is  decorated  by  a pair  of  humorous  pictures,  and  in 
niches  at  the  side  there  are  busts  of  six  celebrated  wits  and  satirists. 

ii  Tythe  in  Kind;  or  The  Sow’s  Revenge.  (In  the  February  number) 

Collings  del.  Blake  sculp.  Published  as  the  Act  directs,  by  Harrison  & 
Co.  March  1,  1784.  6|x8fW  in. 

A parson,  choosing  a pig  due  to  him  in  tythe,  is  attacked  in  the  sty  by 
the  old  sow  who  throws  him  to  the  ground  and  clings  on  to  his  coat-tails. 
The  farmer,  who  brandishes  a stick  in  the  door  of  the  sty,  together  with  his 
wife  and  family,  who  look  on  beyond  the  paling,  are  enjoying  the  joke. 

146 


58  The  Discomfited  Duellists.  (In  the  March  number) 

111  Collings  del.  Blake  sculp.  Published  as  the  Act  directs  by  Harrison  & 
co.  April  i,  1784.  6|x8|in. 

The  scene  is  in  a coffee  house,  where  one  of  the  company  is  engaged  in 
chastising  a couple  of  young  ensigns  in  the  army  for  their  gross  language 
in  the  presence  of  the  barmaid.  He  has  already  shivered  the  sword  of  one 
of  them  and  menaces  his  face  with  a hot  poker ; while  the  other  is  pre- 
vented by  the  bystanders  from  running  him  through  the  back.  The  scared 
barmaid  gesticulates  and  cries  out  from  the  bar  behind. 

iv  The  Blind  Beggars’  Hats.  (In  the  April  number) 

Collings  del.  Blake  sculp.  Published  as  the  Act  directs  by  Harrison  & Co. 
May  1,  1784.  6t96  X 8|  in. 

Illustrates  a poem  about  a Florentine  signior  who  becoming  impoverished 
prays  every  day  for  riches  to  a certain  Madonna  at  a street  corner.  Arriving 
one  day  before  the  image,  he  hears  two  blind  beggars  boasting  of  large  sums 
of  money  concealed  in  their  hats,  which  he  accordingly  snatches  from  their 
heads  and  makes  off,  leaving  the  two  to  belabour  one  another,  each 
believing  the  other  to  be  the  thief. 

v May-Day  in  London.  (In  the  May  number) 

Collings  del.  Blake  sculp.  Publish’d  as  the  Act  directs,  by  Harrison  & 
co.  June  1,  1784.  6i%x8Jin. 

A company  of  May-day  revellers  are  making  merry  with  dancing  and 
music  in  the  street. 

Mr  Rimmel  (of  Shaftesbury  Avenue)  has  Collings’  original  drawing  for 
this  plate  on  the  same  mount  with  an  impression  of  the  print. 

59  ZEPHYRUS  AND  FLORA 

“ The  gentle  God  flew  o’er  th’inchanting  Ground 
Where  Flora  slept,  & breath’d  Perfumes  around  : 

Waking  she  smil’d,  by  Love’s  soft  Pow’r  imprest, 

He,  calmly  sighing,  hover’d  o’er  her  Breast.” 

Stothard  del.  W.  Blake  sc.  Published  as  the  Act  directs  Dec1'.  17,  1784  by 
Parker  8c  Blake,  No.  27  Broad  St.  Golden  Square.  Stipple;  oval, 
6f  x 8tV  in. 

Flora,  reclining  half-naked  in  the  meadow,  is  clasped  in  the  arms  of  the 
winged  youth  Zephyrus.  A quiver,  full  of  arrows,  hangs  upon  a tree 
above  her  head  (1.)  : a cup  and  a pitcher  stand  upon  the  ground  by  her 
pillow.  The  scene  is  a wooded  landscape. 

H7 


60  CALISTO 


“ The  Grove  around  a grateful  Shadow  cast ; 

She  dropped  her  Arrows,  & her  Bow  unbrac’d, 

She  flung  her  self  on  the  cool  grassy  Bed  ; 

And  on  the  painted  Quiver  rais’d  her  Head.” 

Stothard  del.  W.  Blake  sc.  (1784.)  Stipple;  oval,  6f  X7H  in. 

Calisto,  with  her  bow  unstrung  at  her  side  and  with  her  head  resting  on 
the  quiver,  lies  asleep  beneath  a tree  in  a grove.  Some  arrows  and  a 
hunting  horn  lie  near  her  upon  the  ground.  A greyhound  and  another 
hound  repose  at  her  feet  (1.). 

Companion  print  to  the  preceding  No. 


61  ROBERT  MAY,  ESQ^ 

Blake  sc.  (?  c.  1 78 5.) 

The  writer  is  acquainted  with  this  print,  but  has  no  notes  of  any  further 
particulars  in  regard  to  it.  It  is,  as  far  as  he  remembers,  a small  print. 


62  (THE  RETURN  OF  THE  JEWISH  SPIES  FROM  CANAAN) 

(Stothard  del.  Blake  sc.)  (?  c.  1785.)  Line;  6Ax4j  in. 

The  Robert  Balmanno  collection  of  Stothard’s  works  in  the  Print  Room 
contains  a proof  impression,  on  India  paper,  of  this  plate,  with  the  title, 
together  with  the  designer’s  and  engraver’s  names,  written  (as  above)  in 
pencil  upon  it. 

The  two  spies  (r.),  bearing  upon  their  shoulders  a huge  bunch  of  grapes, 
appear  before  Moses  and  Aaron,  who  sit  in  the  door  of  a tent  (r.),  with  a 
company  of  Israelites  standing  around  them.  Moses  has  the  horns  of  light 
upon  his  head. 

An  illustration  for  a book  unknown.  It  resembles  those  engraved  by 
Blake  for  Maynard’s  “ Josephus”  (No.  63,  below). 


63  THE  GENUINE  AND  COMPLETE  WORKS  OF  FLAVIUS 
JOSEPHUS.  BY  GEORGE  L1ENRY  MAYNARD,  LL.D. 

London:  Printed  for  J.  Cooke,  No.  17,  Paternoster  Row.  (c.  1785-1786.) 
(Folio.) 

Three  of  the  plates  in  this  volume  are  engraved  by  Blake,  one  after 
Stothard  and  two  after  Metz. 


148 


63  The  Parting  of  Lot  and  Abraham,  after  seperating  ( sic ) their 

i Flocks,  &c.  (Facing  p.  13) 

Metz  delin.  Blake  sculp. 

This  and  the  two  subjects  following  are  enclosed  in  an  elaborate  ornamental 
framework,  lettered  at  the  top: — “Engraved  for  Maynard’s  Josephus.” 
Line;  outside  measurement,  9|x6f  in. ; subject,  6f  X4§  in. 

Abraham  and  Lot  clasp  hands  in  front,  beneath  a tall  tree.  Behind, 
Sarah  rides  upon  an  ass,  with  a company  of  soldiers  and  of  shepherds 
with  their  beasts. 

ii  The  Battle  of  Ain,  & the  Destruction  of  the  City,  by  the  Army 
of  Joshua.  (Between  pp.  64  & 65) 

Stothard  delin.  Blake  sculp.  Line;  outside  measurement,  9§x6|  in.; 
subject,  6f  x 4j  in. 

A troop  of  horse  is  closely  engaged  with  infantry  in  front.  The  burning  of 
the  city  is  depicted  in  the  background. 

The  Robert  Balmanno  collection  of  Stothard’s  works  in  the  Print  Room 
contains  a proof  of  this  plate,  signed  as  follows  : — Stothard  del.  Blake  sc. ; 
and  marked  in  pencil: — Joshua  viii.  20. 

iii  The  Fugitive  Shechemites  Burnt  and  Suffocated  in  the  Holds  of 
their  Retreat,  by  order  of  King  Abimelech.  (Facing  p.  76) 

Metz  delin.  Blake  sculp.  Line;  outside  measurement,  9fx6|  in.; 
subject,  6x1x4!  in. 

The  scene  is  on  a hillside,  burrowed  with  caves.  The  Israelitish  soldiers 
light  fires  in  front  of  the  caves  and  suffocate  the  Shechemite  men, 
women  and  children  who  have  taken  refuge  there. 

The  three  plates  engraved  by  Blake  are  undated.  The  book  is  said  by 
Lowndes  to  have  been  published  about  1790.  But  as  the  dates  given 
upon  other  prints  in  the  volume  range  from  Oct.  1785  to  Jan.  1786,  it 
may  probably  be  assumed  that  Blake’s  work  belongs  also  to  a year  or 
two  before  the  actual  publication  of  the  work. 


64  VENUS  DISSUADES  ADONIS  FROM  HUNTING 

“ Then  sweetly  smiling  with  a raptur’d  mind, 

On  his  lov’d  Bosom  she  her  head  reclin’d, 

And  thus  began  : — ” Ovid,  Met.  B.  x. 

Rdus.  Cosway,  R.A.  et  Primarius  Pictor  Serinissimi  Walliae  Principis, 
Pinxt.  Guliels.  Blake  sculp. 


T49 


64  Publish’d  by  G.  Hatfield.  No.  67,  Charlotte  Street  Portland  Chapel 
Novr.  21st,  1787.  Stipple,  5x6  x6yf  in.  (The  subject  is  enclosed  by 
a border,  engraved  in  imitation  of  a frame,  with  a narrow  mount  inside 
cutting  off  the  corners  of  the  design.  The  actual  design  itself  measures 
3rf  X 5tV  in») 

Venus  reclines,  naked,  upon  a coverlet  spread  over  a grassy  bank  under 
the  shadow  of  a tree.  Her  back  is  turned  to  the  spectator.  Adonis 
sits  beside  her  upon  a rock  (1.),  hunting  spear  in  hand,  and  gazes  into 
her  eyes ; her  head  rests  upon  his  knee  and  her  arms  are  thrown  around 
him.  Cupid,  beyond,  clasps  them  together.  His  quiver  and  bow  lie  upon 
the  ground  in  front,  and  a pair  of  doves  play  amorously  by  them. 
A hound  sleeps  at  Adonis’  feet.  There  is  a landscape  background,  with  a 
hill,  trees  and  water. 

Blake  has  here  lent  himself  with  singular  felicity  to  the  pretty  manner  of 
the  time.  Examples  of  the  print  are  rarely  met  with. 

The  plate  was  reissued  in  1823.  The  later  impressions  are  in  colours  and 
have  the  imprint London,  Published  June  2nd.  1823  by  H.  Gibbs 
23  Gt.  Newport  St.” — the  rest  of  the  lettering  (the  title,  etc.)  being 
unchanged.  Adonis’  robe  is  here  coloured  red : his  sandals  blue ; and 
a fillet  of  blue  binds  Venus’  hair. 

A reduced  (3^x4^  in.)  copy  of  the  print,  engraved  by  another  hand, 
appears  in: — The  Rambler’s  Magazine;  or  Fashionable  Emporium  of 
Polite  Literature.  London:  Benbow,  Printer  and  Publisher,  Byron’s 
Head,  Castle-Street,  Leicester  Square.  1823.  Vol.  ii.  August  1,  1823. 
No  8.  The  copy  faces  p.  352  and  is  entitled: — “Venus  dissuading 
Adonis  from  the  chase”;  it  has  no  imprint,  and  bears  neither  painter’s 
nor  engraver’s  name.  It  is  accompanied,  on  pp.  351-2,  by  a note  on  the 
tale  of  Venus  and  Adonis. 


65  (AN  AWE-STRUCK  GROUP  STANDING  ON  A ROCK  BY  THE 

SEA) 

(Engraved  by  Blake,  from  a drawing  by  his  brother,  Robert).  1 
(No  title,  signature  or  date.)  (?  c.  1787.)  Relief  etching,  iixfx8^  in. 

A group  of  about  half-a-dozen  figures  press  together  (r.)  at  the  edge  of 
a rock  by  the  sea  and  gaze  with  scared,  anxious  faces  over  the  vacant 
waters  before  them.  Foremost  among  them  is  a very  old  man  with  a 
long  beard,  to  whom  a woman,  behind  him,  clings.  By  his  side,  a young 
woman  with  folded  hands  is  clasped  in  the  arms  of  a man  beyond. 

1 Robert  Blake’s  original  drawing  is  in  the  Print  Room,  where  an  example  of  the  print  is  also  to  be 
found. 


150 


VENUS  DISSUADES  ADONIS  FROM  HUNTING 
After  Cosway,  1787.  (64) 


. 


Plate  29 

AN  AWE-STRUCK  GROUP  STANDING  ON  A ROCK  BY  THE  SEA 
After  Robert  Blake.  ? 1787.  (65) 


65  Another  woman,  behind,  utters  cries.  All  seem  to  be  the  spectators 
of  some  awful  scene  or  portent.  A vivid  streak  of  light  (?  meant  for 
lightning  or  a comet)  furrows  the  dense  storm  clouds  which  hang  over 
them.  A great  impression  of  terror  is  produced  by  the  design. 

66  INDUSTRIOUS  COTTAGER 

Painted  by  G.  Morland.  Engraved  by  W.  Blake. 

London,  publish’d  May  12th.  1788,  by  J.  R.  Smith,  No.  31,  King  Street, 
Covent  Garden.1  Stipple,  8^x  10  in. 

A country  girl  returns  home,  with  a bundle  of  firewood  on  her  head  and 
a basket  in  her  hand ; a little  girl,  also  carrying  firewood,  walks  by  her 
side.  They  have  passed  a stile  (r.),  and  are  about  to  cross  a plank  over  a 
stream.  Trees  in  the  background,  with  a cottage  among  them  to  1. 

An  example  of  the  engraving  printed  in  brown,  realised  at  Sotheby’s, 
6 th  March  1905. 

67  THE  IDLE  LAUNDRESS 

Painted  by  G.  Morland.  Engraved  by  W.  Blake.2  (1788.)  Stipple,  8|x 
io|  in. 

The  laundress  sleeps  in  a chair  outside  her  cottage.  A washing  table  and 
a basket  of  clothes  are  by  her  side.  A little  boy  enters  by  a gate  (r.),  and 
proceeds  to  steal  the  clothes  off  a line.  A pig  attacks  a basket  of  potatoes 
on  the  ground.  The  cottage  is  overshadowed  by  a tree  and  there  are 
trees  also  in  the  background. 

68  APHORISMS  ON  MAN.  TRANSLATED  FROM  THE  ORIGINAL 
MANUSCRIPT  OF  THE  REV.  JOHN  CASPAR  LAVATER, 
CITIZEN  OF  ZURIC 

London,  Printed  for  j.  Johnson,  St  Paul’s  Church-yard,  1788.  (sm.  8vo.) 

The  frontispiece  is  engraved  by  Blake  after  a design  by  Fuseli,  illustrat- 
ing the  words  from  Juvenal’s  ninth  Satire : — “ E caelo  descendit 
yiHioOi  aeavTov .” 

1 Reprinted  in  1803  by  a new  publisher,  with  the  imprint: — London,  Published  Jany.  1st,  1803,  by 
H.  Macklin,  Poet’s  Gallery,  Fleet  Street;  the  reissue  is  worked  up  with  line  and  otherwise  re- 
touched. The  original  painting  by  Morland,  in  the  possession  of  H.  Darrel  Brown,  Esq.,  was  exhibited 
at  the  Burlington  Fine  Arts  Club  in  the  winter  of  1910-1911. 

2 Reprinted  in  1803  by  a new  publisher,  with  the  imprint: — London,  Publish’d  Jany  1.  1803,  by 
H.  Macklin,  Poet’s  Gallery,  Fleet  Street ; the  reissue  is  worked  up  with  line  and  otherwise 
retouched. 

U1 


68  Blake  sc.  Line;  qfx2|  in. 

A cherub,  bearing  a stone  tablet  inscribed  with  the  Greek  saying, 
descends  (r.)  to  a youth,  seated  in  rapt  meditation,  and  points  out  the 
letters  to  his  upturned  gaze.  An  hour-glass  and  some  books  are  at  the 
youth’s  side  upon  the  ground. 

The  worked-over  plate  was  subsequently  used  for  an  edition  printed  in 
Dublin,1  in  reference  to  which  Gilchrist  writes  2 : — “ If  any  deny  merit  to 
Blake  as  an  engraver,  let  him  turn  from  this  boldly  executed  print  of 
Fuselis  mannered  but  effective  sitting  figure,  ostentatiously  meditative, 
of  Philosophic  Contemplation,  or  whatever  it  may  be,  to  the  weak 
shadow  of  the  same  in  the  subsequent  Dublin  editions  of  this  little 
book.”  An  original  impression  was  exhibited  side  by  side  with  the 
reissue  at  the  Boston  exhibition  of  Blake’s  works  of  1891.  The  catalogue 
contains  the  following  note3: — “The  fainter  of  the  two  impressions 
has,  at  first  sight,  the  look  of  a late  impression  from  the  worn  plate. 
Closer  inspection,  however,  leads  to  the  belief  that  it  is  an  earlier  state 
of  the  plate,  while  the  stronger  shows  a later  state,  after  the  plate  had 
been  gone  over  and  brought  up  to  color.” 


69  ESSAYS  ON  PHYSIOGNOMY.  BY  JOHN  CASPAR  LAVATER. 
ILLUSTRATED  BY  MORE  THAN  EIGHT  HUNDRED  ENGRAV- 
INGS, EXECUTED  BY,  OR  UNDER  THE  INSPECTION  OF 
THOMAS  HOLLOWAY.  TRANSLATED  FROM  THE  FRENCH 
BY  HENRY  HUNTER,  D.D. 

London.  MDCC.LXXXIX.  (3  vols.  in  5 parts.) 

Contains  three  engravings  by  Blake,  all  in  Volume  I. 

i Democritus.  (Facing  p.  159) 

Rubens  delin.  Blake  sculp.  Line;  6§X5§  in. 

Bust,  nearly  full  face,  turned  towards  r.  A bearded,  satyr-like  figure, 
with  a laughing  face  and  a bald  head  with  a tuft  of  hair  in  front. 

ii  (Tail-piece  on  p.  206) 

Blake  sc.  Line  ; 5|  x 2|  in. 

A hand  and  arm,  holding  up  a lighted  candle  with  moths  fluttering 
around  it. 

1 Also  reissued,  London,  1789  and  1794,  with  the  plate  worked  over. 

2 Gilchrist’s  “ Life”  (ed.  1880),  vol.  i.  p.  61. 

3 Museum  of  Fine  Arts,  Print  Department.  “Exhibition  of  Books,  Water  Colors,  Engravings,  etc., 
by  William  Blake,”  1891,  p.  38,  No.  124. 


“WHEN  MY  HERO  IN  COURT  APPEARS,  ETC. 

iggar's  Opera,  Act  III.  After  Hogarth,  1790,  second  state.  (71) 


69  (A  Head  of  Spalding.)  P.  225. 

111  Blake  sculp.  Line ; 5^x4!  in. 

Head  and  neck  of  a man ; profile,  looking  to  1..  An  account  of  the 
head  is  given  on  the  same  page. 

70  (A  YOUNG  LADY  EMBRACING  THE  BUST  OF  A YOUTH  IN 
A WOOD) 

Stothard  d.  Blake  sc.  ( ? 1789.)  Line;  5^x3^  in. 

A young  lady  fondly  embraces  the  bust  of  a youth  set  up  on  a pedestal 
in  a wood.  A youth,  walking  through  the  wood,  surprises  her. 

Probably  an  illustration  to  a book,  which  the  author  has  been  unable  to 
identify.  An  example  of  the  print  in  the  Robert  Balmanno  collection  of 
Stothard’s  works  in  the  Print  Room  is  included  under  the  year  1789. 


71  BEGGAR’S  OPERA,  ACT  III. 

“ WHEN  MY  HERO  IN  COURT  APPEARS,  &c  ” 

From  the  Original  Picture,  in  the  Collection  of  his  Grace  the  Duke  of 
Leeds.1 

Painted  by  Wm.  Hogarth.  Engraved  by  Wm.  Blake.  Publish’d  July  ist. 
1790,  by  J.  & J.  Boydell,  Cheapside,  & at  the  Shakspeare  Gallery, 
Pall  Mall,  London.  Size  of  the  picture  24"  by  30"  long.  Line; 
214X  15!  in. 

The  subject  of  the  print  is  a performance  of  Gay’s  Beggar’s  Opera , 
at  Lincoln’s  Inn  Field,  1727.  The  names  of  the  persons  represented  are 
given,  as  follows,  in  the  Key  to  the  Plate  (which  is  imprinted, — Publish’d 
July  1 : 1790,  by  J.  & J.  Boydell,  Cheapside,  & at  the  Shakspeare 
Gallery  Pall  Mall)  : — 


Performers 

1.  Macheath — Mr  Walker.  2.  Lockitt— Mr  Hall.  3.  Peachum — Mr 
Hippisley.  4.  Lucy — Mrs  Egleton.  5.  Polly — Miss  Fenton,  afterwards 
Dutchess  of  Bolton. 


Audience 

6.  Duke  of  Bolton.  7.  Major  Paunceford.  8.  Sir  Robert  Fagg.  9.  Mr 
Rich,  the  Manager.  10.  Mr  Cock,  the  Auctioneer.  11.  Mr  Gay.  12  Lady 

1 By  whom  it  was  purchased  in  1762  from  Mr  Rich,  of  the  Covent  Garden  Theatre  ; the  picture  is  a 
repetition  of  a previous  version  by  Hogarth  of  the  same  subject. 

1 53 


71  Jane  Cook.  13.  Anthony  Henley  Esq1.  14.  Lord  Gage.  15.  Sir  Conyers 
D’Arcy.  16.  Sir  Thos.  Robinson. 

The  plate  exists  in  four  states^  which  are  given  as  follows  by  J.  B. 
Nichols,  in  his  “Anecdotes  of  William  Hogarth”  (1833),  P*  323: — 
“First  State,  etching;  second,  finished  proof  before  writing;  third, 
open  letters;  fourth,  letters  filled  up.”  The  first  state  is  lettered  as 
follows: — “Painted  by  Will"1.  Hogarth,  1729.  Etch’d  by  Will"1.  Blake, 
1788.”  Publish’d  October  29  : 1788 : by  Ald,n.  Boydell  & Co.  Cheapside. 
The  lettering  of  the  first  state  is  placed  at  the  head  of  the  present 
description  of  the  print.  The  words  “ The  Size  of  the  picture,”  etc.,  are 
absent  in  the  open  letter  proofs  (third  state). 


72  (TIMON  VISITED  BY  ALCIBIADES  IN  THE  CAVE.1  SHAKE- 
SPEARE’S T1MON  OF  ATHENS,  ACT  IV.  SC.  III.) 

(Engraved  by  Blake,  from  a drawing  by  Fuseli.)  Published  by  W.  Blake, 
Poland  St.  July  28:  1790.  Line;  8§x  12^  in. 

Alcibiades,  naked,  wearing  a helmet,  accompanied  by  his  two  mistresses 
who  are  clothed  in  diaphanous  attire  and  dance  as  they  come,  appear  at 
the  cave’s  mouth  (1.).  Timon,  sitting  naked  within,  glares  fiercely  at 
them.  A spade  rests  against  the  wall  of  the  cave,  and  a number  of  gold 
pieces  lie  upon  the  ground  in  front  of  him.  There  are  trees  on  either 
side  of  the  cave,  and  the  sun  sinks  into  the  sea  to  1. 


73  THE  PROTESTANT’S  FAMILY  BIBLE 
Harrison  & Co.,  London.  (1790.2)  (4to.) 

Five  of  the  plates  in  this  Bible  are  engraved  in  line  by  Blake,  three  after 
Raphael  and  two  after  Rubens. 

i Abraham  and  the  Three  Angels.  Gen.  xviii.  2 

Raphael  de  Urbin  del.  Blake  sc.  Publish’d  as  the  Act  directs  by  Harrison 
& Co.,  No.  18  Paternoster  Row. 

ii  Lot’s  Escape.  Gen.  xix.  26 

Rubens  del.  Blake  sculp.  (Imprint  as  above.) 

1 The  print  is  without  title. 

2 The  frontispiece  has  the  date  2nd  September  1790. 

'54 


73  Joseph  sold  to  the  Ishmaelites.  Gen.  xxxvii.  28 
111  Rubens  del.  Blake  sculp.  (Imprint  as  above.) 

iv  The  Israelitish  Idolatry.  Ex.  xxxii.  19 

Raphael  de  Urbin  del.  Blake  sculp.  (Imprint  as  above.) 

v Joshua  passing  the  Jordan.  Josh.  iv.  16. 

Raphael  de  Urbin  del.  Blake  sc.  (Imprint  as  above.) 

The  above  particulars  were  kindly  communicated  to  the  writer  by  an 
owner  of  a copy  of  the  book.  It  is  some  time  since  the  writer  himself  has 
had  an  opportunity  of  examining  the  prints,  but,  they  are,  if  his  recollec- 
tion serves  him,  similar  in  character  to  the  illustrations  of  Maynard’s 
“Josephus”  (see  No.  63) 

74  (HEAD  OF  A MAN  TORMENTED  IN  FIRE) 

Fuseli  Pinxit.  W.  Blake  sculpsit.1  (?  c.  1790.)  Line;  i3|x  10  ^ in. 

The  head  and  neck  (life-size)  of  a man  tormented  in  flames.  The  head 
is  upturned,  with  the  eyes  rolled  back  and  a wide-open,  howling  mouth. 
Background  of  flames. 

75  FALSA  AD  COELUM  MITTUNT  INSOMNIA  MANES  2 

(Engraved  by  Blake,  from  a drawing  by  Fuseli.)  (?  c.  1 790.)  Line ; 
8|x  14^  in. 

A young  woman  lies  dreaming  upon  a couch  (r.).  Fler  head  hangs  forward 
and  her  hair  falls  in  ringlets  over  her  forehead.  Her  left  foot  rests  upon 
the  ground.  Her  body  is  naked.  A huge  moth  settles  upon  her  r.  leg. 
A Love,  entering  by  an  open  window  (1.),  shoots  at  her  with  bow 
and  arrow.  Two  other  Loves  (one  of  them  with  bow  and  quiver)  fly  out 
of  the  window.  A terminal  figure  of  Silence  stands  over  her,  on  the  far 
side  of  the  couch,  and  from  underneath  it  in  front,  a grotesque  figure 
with  a human  body  and  an  elephant’s  head  creeps  out  and  points  to  the 
above  inscription  written  upon  the  floor.  The  rising  sun  is  seen  through 
the  window. 

1 The  Print  Room  has  a proof  before  letters  so  marked  in  pencil.  A later  impression,  also  in  the  Print 
Room,  has  the  name  Blake  vety  faintly  engraved  at  the  right  hand  lower  corner. 

2 The  quotation  is  inscribed  upon  the  floor  in  front.  The  example  in  the  Print  Room,  from  which  the 
particulars  here  given  are  derived,  is  without  either  the  designer’s  or  the  engraver’s  names  and  has 
no  title  or  imprint. 


!55 


76 


EDMUND  PITTS,  ESq. 

Ad  viv:  del:  J.  Earle:  Armig.  GulieL  Blake  sculp.  (?  c.  1790.)  Stipple; 
oval,  7|x5f6  in. 

Half  length  ; profile,  to  1. 

A private  plate.  Scarce. 


77  ELEMENTS  OF  MORALITY,  FOR  THE  USE  OF  CHILDREN. 
TRANSLATED  FROM  THE  GERMAN  OF  THE  REV.  C.  G. 
SALZMANN.  ILLUSTRATED  WITH  FIFTY  COPPER  PLATES. 
In  three  volumes. 

London:  Printed  by  J.  Crowder,  for  f.  Johnson  in  St  Paul’s  Church- 
Yard  M,DCC,XCI.  (1 2mo.) 

The  German  edition  of  this  book,  “ Moralisches  Elementarbuch  ” was 
published  in  Leipzig  in  1785,  with  seventy  plates  designed  and  engraved 
by  Chodowiecki.  Forty-nine  of  these  were  re-engraved  for  the  present 
translation  (by  Mary  Wollstonecraft),  one  of  them  (vol.  ii.  pi.  20)  being 
somewhat  altered  from  the  original ; and  two  newly  designed  plates 
(vol.  ii.  pis.  27  & 28)  were  added.  The  whole  set  of  fifty-one  plates  are 
commonly  stated  1 to  have  been  engraved  by  Blake,  whom  at  least  one 
authority  2 supposes  also  to  have  been  the  designer  of  the  two  additional 
subjects.  One,  only,  of  the  series  (vol.  i.  pi.  10)  is  signed,  but  not  with 
Blake’s  name.3  It  is  possible,  however,  in  some  instances,  to  find  more  or 
less  certain  traces  of  his  handiwork.  In  the  list  which  follows,  only  those 
prints  are  included,  which,  in  the  present  writer’s  opinion,  can  with  any 
degree  of  probability  be  assigned  to  him.  The  plates  are  all  engraved  in 
line.  Their  imprints  are  as  follows: — Yol.  i.  Frontispiece, — Published  by 
J.  Johnson  in  St  Paul's  Church  7 ard,  Oct1'.  1,  1790;  the  remainder, — 
Published  by  J.  Johnson , Oct1'.  1,  1790.  Vol.  ii.  pis.  16  & 27, — Published 
by  J.  Johnson , Oct1'.  1,  1790;  the  remainder, — Published  by  J.  Johnson , 
Janv.  1,  1791.  Vol.  iii.  all, — Published  by  J.  Johnson , March  15,  1791. 
The  third  (1792)  edition  of  “The  Elements  of  Morality”  has  the  same 
plates  as  the  first,  a good  deal  touched  up.  . 

1 By  Gilchrist  (see  “ The  Life,”  ed.  1880,  vol.  i.  p.  91)  and  others. 

2 The  author  of  the  catalogue  of  works  by  Blake  exhibited  at  the  Grolier  Club  (New  York)  in  1905  : 
see  p.  102  of  the  Catalogue.  The  present  writer  is  unable  to  accept  the  attribution  to  Blake  of  the 
two  designs  in  question. 

3 A signature,  reading  “ W.  P.  C.,  fee*'  1780,”  is  very  faintly  engraved  at  the  r.  hand  lower  corner  of 
the  print.  The  initials  cannot  be  those  of  the  designer,  which  were  D.  N.  C(hodowiecki) : they  are 
therefore  likely  to  represent  the  engraver  of  the  plate,  which  differs  from  those  for  which  Blake  is 
responsible  and  cannot  anyhow  be  attributed  to  him. 

156 


77  Volume  I. 

1 Health  is  dearer  to  me  than  a whole  Sack  full  of  Gold.  PI.  2, 
vol.  i. 

413  X2f  in. 

ii  Stop  ! Stop  ! PI.  5,  vol.  i. 

4rfx2f  in. 

iii  There  he  is  ! There  comes  our  dear  Father.  PI.  6,  vol.  i. 

4f  X 2^. 

iv  Pompey  is  dead  ! PL  8,  vol.  i. 

5 x 2|  in. 

(Possibly,  but  not  certainly,  by  Blake.) 

v Patience  can  soften  every  pain.  PI.  9,  vol.  i. 

5X2ff  in. 

Vi  Is  THERE  ANY  HOPE  ? PI.  I 2,  Vol.  i. 

4fX2±f  in. 

(Possibly,  but  not  certainly,  by  Blake.) 

vii  Your  Compassion  has  saved  my  life.  PI.  13,  vol.  i. 

5X2^1  in. 

(Possibly,  but  not  certainly,  by  Blake.) 

viii  I hate  you!  PI.  14,  vol.  i. 

5ix2f  in. 

(Probably  by  Blake.) 

ix  If  we  love  others,  they  will  love  us  in  return.  PL  15,  vol.  i. 
5nrX2i|  in. 

(Possibly,  but  not  certainly,  by  Blake.) 

Volume  II. 

x An  Idle  Man  will  never  be  Content.  PL  16,  vol.  ii. 

4if  x 2if  in. 

(Possibly,  but  not  certainly,  by  Blake.) 

Volume  III. 

xi  Welcome  dear  Henry,  & good  Catherine.  PL  33,  vol.  iii. 

4ri  X 2f  in. 

(Possibly,  but  not  certainly,  by  Blake.) 

1 57 


77  A Wicked  man  is  more  to  be  pitied  than  a cripple.  PL  37,  vol.  iii. 
Xl'  4!  x 2 1 in. 

xiii  See  how  much  good  a Single  man  can  do!  PL  39,  vol.  iii. 

4fx2§  in. 

(Possibly,  but  not  certainly,  by  Blake.) 

xiv  O God  ! Thou  art  just  ! PL  47,  vol.  iii. 

4^X  2|  in. 

(Possibly,  but  not  certainly,  by  Blake.) 


78  OBSERVATIONS  ON  MAN.  BY  DAVID  HARTLEY,  M.A. 
REPRINTED  FROM  THE  AUTHOR’S  EDITION  IN  1749 

Printed  for  J.  Johnson,  No.  72,  St  Paul’s  Church-yard.  MDCCXCI.  (4to.) 

The  frontispiece  is  a portrait  of  Hartley,  engraved  in  line  by  Blake  after 
Shackelton. 

David  Hartley,  M.A.  From  a painting,  by  Shackelton. 

Blake  sc.  Published  by  J.  Johnson,  in  St  Paul’s  Church-yard,  March  1st 
1791.  Oval,  5|X4§  in. 

Bust.  Nearly  full  face,  turned  a little  towards  r.  A man  of  middle  age, 
with  a shaven  face  and  wearing  a wig. 

The  portrait  was  re-engraved  by  J.  Heath  for  the  5th  (1810)  edition, 
with  the  following  note  by  the  publisher: — “For  the  use  of  a portrait 
from  which  an  engraving  has  been  taken  by  Mr  Blake  . . . the 
bookseller  returns  his  thanks.” 


79  (a)  THE  BOTANIC  GARDEN;  A POEM  IN  TWO  PARTS 

London.  Printed  for  J.  Johnson.  MDCCXCI.  (4to.) 

A plate  entitled  “Fertilization  of  Egypt,”  engraved  in  line  by  Blake 
after  Fuseli,  faces  p.  127. 

H.  Fuseli,  R.A.  inv.  W.  Blake  sc.  London,  Publish’d  Deer.  1st.  1791 
by  J.  Johnson,  St  Paul’s  Church  Yard.  7ffx6^  in. 

The  print  illustrates  the  lines : — 

“ High  o’er  his  head  the  beams  of  Sirius  glow, 

And,  Dog  of  Nile,  Anubis  barks  below.” 

Anubis,  a colossal  dog-headed  figure,  stands  astride  the  Nile,  turned 

158 


79  away  from  the  spectator,  with  his  hands  uplifted  to  Sirius  who  shines 
above.  A cistu/n  lies  near  him  upon  the  bank  (1.).  In  the  background,  an 
ancient,  winged  figure  with  outspread  arms  (a  sort  of  storm-god  or  Jupiter 
Pluvius)  broods  over  a cataract,  upon  which  he  causes  lightning  and 
torrential  rain  to  descend.  The  Pyramids  are  in  the  distance  to  r. 

Blake’s  own  drawing,  in  India  ink,  for  the  engraving,  together  with  the 
original  sketch  by  Fuseli,  both  upon  the  same  mount,  are  in  the  Print 
Room.  The  design  is  reversed  in  the  drawing  and  the  cistum  is  absent. 
The  author  of  the  poem  was  Erasmus  Darwin,  grandfather  of  the  great 
biologist. 

(Z>)  The  Third  Edition  of  the  above. 

London.  Printed  for  J.  Johnson.  MDCCXCV. 

Contains  a second  plate,  entitled  “ Tornado,”  1 engraved  in  line  by  Blake 
after  Fuseli,  facing  p.  1 6 8 . 

H.  Fuseli  R.A.  inv.  W.  Blake  sc. 

London,  Published  Augt.  ist  1795,  by  J.  Johnson,  St  Paul’s  Church 
Yard.  8^  x 6 § in. 

The  print  illustrates  the  lines  : — 

“ You  seize  Tornado  by  his  locks  of  mist, 

Burst  his  dense  clouds,  his  wheeling  spires  untwist ; 

Wide  o’er  the  West  when  borne  on  headlong  gales, 

Dark  as  meridian  night,  the  Monster  sails 
Howls  high  in  air,  and  shakes  his  curled  brow, 

Lashing  with  serpent-train  the  waves  below, 

Whirls  his  black  arm,  the  forked  lightning  flings, 

And  showers  a deluge  from  his  demon-wings.” 

A nude  demon  of  terrific  aspect  advances  over  a tempestuous  sea, 
grasping  the  lightning  in  his  right  hand  and  with  his  left  propelling  the 
storm  clouds.  He  is  whirled  along  on  the  dark  pinions  of  a huge  sea 
horse,  who  seizes  his  locks  from  behind  and  enfolds  one  of  his  legs  with 
the  scaly  coils  of  his  tail. 

The  execution  is  vigorous  but  the  design  fails  to  produce  its  intended 
impression  of  terror.  The  print  is  omitted  in  the  fourth  (8vo)  edition 
(1799),  which  contains  a reduced  (5^x3^)  copy  in  reverse  of  the 
“Fertilization  of  Egypt,”  facing  p.  145.  Some  plates,  illustrating  the 
Portland  Vase,  which  occur  in  the  various  editions  of  the  Botanic  Garden 
are  also  sometimes  given  to  Blake.  They  do  not  bear  his  signature,  but 
may  possibly  be  from  his  hand. 

1 The  subject  given  in  the  list  of  engravings  in  Gilchrist’s  “Life”  (ed.  1880),  vol.  ii.  p.  283: — 
“apparently  from  the  Scandinavian  Mythology  (Thor  battering  the  serpent  (?).  Fuseli.  Forcibly 
executed  Plate  9 x i\  in.”),  is  probably  intended  for  the  above  ; if  so,  both  subject  and  measurements 
are  wrongly  given. 


'59 


80  FABLES  BY  JOHN  GAY.  EMBELLISHED  WITH  SEVENTY 
PLATES 

London.  Printed  for  John  Stockdale,  1793.  (2  vols. ; 8vo.) 

Twelve  of  the  plates,  illustrating  the  following  fables,  are  engraved  and 
perhaps  also  designed  by  Blake.  Each  is  signed : — Blake  sc. 

Volume  I. 

i Introduction  to  the  Fables.  The  Shepherd  and  the  Philosopher 

3X3f  in- 

ii  Fable  VI.  The  Miser  and  Plutus 

3X3H  in> 

iii  Fable  XIII.  The  Tame  Stag 
3X3l  in- 

iv  Fable  XVI.  The  Pin  and  the  Needle 

3 x 3re  in- 

v Fable  XXII.  The  Goat  without  a Beard 
3x3!  in. 

vi  Fable  XXIV.  The  Butterfly  and  the  Snail 
3ts  x 3s  in. 

vii  Fable  XXVIII.  The  Persian,  the  Sun,  and  the  Cloud 
3x3l  in* 

viii  Fable  XXX.  The  Setting-dog  and  the  Partridge 
3 x 3rf  jn- 

ix  Fable  XLI.  The  Owl  and  the  Farmer 
3X3fe  in- 

Volume  II. 

x Fable  I.  The  Dog  and  the  Fox 

3rs  x 3§  in. 

xi  Fable  XII.  Pan  and  Fortune 


80  Fable  XVI.  The  Ravens,  the  Sexton,  and  the  Earth-worm 
XH  3r«  x 3H  in- 

Six  unfinished  proofs  of  plates  from  the  Fables  were  exhibited  at  the 
Boston  exhibition  of  Blake’s  works  of  1891.1  The  Print  Room  has 
proofs  of  Nos.  i.  and  ii. 

Blake’s  designs  were  re-engraved,  in  an  oval  form,  by  another  hand,  for 
a smaller  edition  of  the  Fables,  also  published  by  Stockdale. 

81  ANECDOTES  OF  MARY;  OR,  THE  GOOD  GOVERNESS.  BY 
THE  AUTHOR  OF  THE  HISTORY  OF  THE  DAVENPORT 
FAMILY 

London:  Printed  for  E.  Newberry,  Corner  of  St  Paul’s  Church-Yard. 
M,DCC,XCV. 

The  frontispiece  (which  has  no  name  either  of  designer  or  engraver  and 
is  without  imprint)  is  probably  engraved  by  Blake. 

The  Pleasures  of  Benevolence.  Frontispiece.  See  p.  74,  vol.  i.  Line; 
5i><  3 in- 

Mary  enters  a garret  and  beholds  a sick  pauper  wrapped  in  a blanket  and 
crouched  upon  some  straw  in  a corner  of  the  room,  with  his  wife’s  arms 
thrown  about  his  neck. 


82  (CATULLUS  AND  NEPOS.  Frontispieces) 
i C:  Val:  Catullus.  Apud  effigiem  antiquam  curiae  senatus 

VERONENSI  SUPERPOSITAM 

Xaverius  Della  Rosa,  Veronae,  delin.  Blake  sculpsit.  London,  Published 
March  19,  1795  by  J.  Johnson,  St  Paul’s  Church  Yd.  Stipple ; 6^e  x 3jf  in. 
Catullus  is  represented  as  a young  man,  with  his  hair  falling  in  curls 
about  his  neck  and  an  incipient  beard  ; he  holds  a book. 

Lettered  in  the  right  hand  upper  corner : — “ Frontispiece  to  Vol.  I.”  The 
author  has  been  unable  to  trace  the  work  for  which  this  and  the  following 
portraits  were  engraved  as  frontispieces.  A reproduction  of  the  “ Catullus  ” 
appears,  under  Blake’s  name,  as  the  frontispiece  to  Burton  and  Smithers’s 
“ Carmina  of  Caius  Valerius  Catullus”  (London:  1894).  A note  in  the 
Introduction  states  that,  “ The  frontispiece  to  this  volume  is  reproduced 
from  the  statue  which  stands  over  the  Palazzo  de  Consiglio,  the  Council 
House  at  Verona,  which  is  the  only  representation  of  Catullus  extant.” 

1 Museum  of  Fine  Arts,  Print  Department.  “Exhibition  of  Books,  Wrater  Colors,  Engravings,  etc., 
by  Wrilliam  Blake,’’  1891,  p.  32,  No.  no  (a). 


L 


161 


82  Cornel:  Nepos.  Apud  effigiem  antiquam  curiae  senatus  veronensi 

ii  SUPERPOSITAM 

Xaverius  Della  Rosa,  Veronae,  delin.  Blake  sculpsit. 

London,  Published  March  19,  1795,  by  J.  Johnson,  St  Paul’s  Church  Yard. 
Stipple  ; 6J-J  X4i  in. 

Lettered  in  the  right  hand  upper  corner: — “Frontispiece  to  Vol.  2.” 

83  JOHN  BROWN,  M.D.1 

Donaldson  Pinxh  Blake  sculp4.  London,  Published  May  1,  1795  by 
J.  Johnson,  St  Paul’s  Church  Yard.  Line;  oval,  5^x4^  in. 

Ilead  and  shoulders.  Three  quarter  face  to  r.  A man  of  past  middle  age, 
with  a shaven  face  and  wearing  a wig. 


84  NARRATIVE,  OF  A FIVE  YEARS’  EXPEDITION,  AGAINST  THE 
REVOLTED  NEGROES  OF  SURINAM,  IN  GUIANA  . . . FROM 
THE  YEAR  1772  TO  1777:  BY  CAPTN.  J.  G.  STEDMAN.  ILLUS- 
TRATED WITH  80  ELEGANT  ENGRAVINGS,  FROM  DRAWINGS 
MADE  BY  THE  AUTHOR 

London.  Printed  by  J.  Johnson,  St  Paul’s  Church  Yard,  & J.  Edwards, 
Pall  Mall,  1796.  (2  vols.  4to.) 

Thirteen  of  the  plates  are  marked,  Blake  Sculp *.  and  with  the  exception  of 
Nos.  ii.,  xii.  and  xv.  (where  the  date  of  publication  is  Dec1'.  Ist.  1792),  bear 
the  imprint,  London , Published  Deer.  'id.  1793  ty  J ’.  Johnson , Si  PauPs 
Church  Tard.  Nos.  vii.  and  xiii.,  which  have  the  same  imprint,  but  are 
unsigned,  appear  also  to  be  from  Blake’s  hand.  All  are  line  engravings. 

Volume  I. 

i Coromantyn  Free  Negro,  or  Ranger,  armed.  (Facing  p.  80) 

7bP5%  in- 

ii  A Negro  hung  alive  by  the  Ribs  to  a Gallows.  (Facing  p.  110) 

in- 

in  A Private  Marine  of  Col.  Fourgeoud’s  Corps.  (Facing  p.  166) 

7 11  x 5§  in. 

iv  The  Mecoo  & Kishee  Kishee  Monkeys.  (Facing  p.  166) 

7\  x 5tV  in- 

1 B.  1735,  d.  1788  ; founder  of  the  “ Brunonian  ” system  of  medicine. 

162 


84  The  Skinning  of  the  Aboma  Snake,  shot  by  Cap.  Stedman.  (Facing 

v p.  1 74) 

7tV  x 5 t<t  in. 

vi  Group  of  Negroes,  as  imported  to  be  sold  for  Slaves.  (Facing  p.  200) 
7t3<tX  5J  in. 

vii  The  Sculls  of  Lieut.  Leppar,  & Six  of  his  Men.  (Facing  p.  227) 
(Unsigned.) 

viii  Flagellation  of  a Female  Samboe  Slave.  (Facing  p.  326) 

7yo  x 5^  in. 

Volume  II. 

ix  The  Quato  & Saccawinkee  Monkeys.  (Facing  p.  10) 

7£x5fV  in. 

x A Surinam  Planter  in  his  Morning  Dress.  (Facing  p.  56) 

7tVx5£  in. 

xi  Limes,  Capsicum,  Mammy  Apple  &c.  (Facing  p.  74) 

7ix  5tV  in. 

xii  Family  of  Negro  Slaves  from  Loango.  (Facing  p.  280) 

7s  x 5t36  in. 

xiii  The  Execution  of  Breaking  on  the  Rack.  (Facing  p.  296) 

(Unsigned.) 

xiv  The  celebrated  Graman  Ouacy.  (Facing  p.  348) 

7i><5l  in- 

xv  Europe  supported  by  Africa  & America.  (Facing  p.  394) 

7T6X5fV  in. 

Some  later  editions  of  the  work  have  the  plates  in  colour. 

85  THOUGHTS  ON  OUTLINE,  SCULPTURE,  AND  THE  SYSTEM 
THAT  GUIDED  THE  ANCIENT  ARTISTS  IN  COMPOSING 
THEIR  FIGURES  AND  GROUPES.  TO  WHICH  ARE  ANNEXED 
TWENTY-FOUR  DESIGNS  OF  CLASSICAL  SUBJECTS  IN- 
VENTED ON  THE  PRINCIPLES  RECOMMENDED  IN  THE 
ESSAY  BY  GEORGE  CUMBERLAND 

London.  Printed  by  W.  Wilson,  St  Peter’s-Hill,  Doctor’s-Commons ; And 
sold  by  Messrs : Robinson,  Paternoster-Row  ; and  T.  Egerton,  Whitehall. 
MDCCXCVI.  (4to.) 


163 


85  Eight  of  the  plates  were  engraved  by  Blake  after  Cumberland’s  designs. 
The  following  reference  to  Blake’s  share  in  the  work  occurs  in  the 
Appendix  (p.  47) : — “ . . . One  thing  may  be  asserted  of  this  work, 
which  can  be  said  of  few  others  that  have  passed  the  hands  of  an 
engraver,  which  is,  that  Mr.  Blake  has  condescended  to  take  upon  him 
the  laborious  office  of  making  them,  I may  say,  fac-similes  of  my  originals  : 
a compliment,  from  a man  of  his  extraordinary  genius  and  abilities,  the 
highest,  I believe,  I shall  ever  receive ; — and  I am  indebted  to  his  generous 
partiality  for  the  instruction  which  encouraged  me  to  execute  a great  part 
of  the  plates  myself;  enabling  me  thereby  to  reduce  considerably  the 
price  of  my  book.”  The  “Thoughts  on  Outline”  are  mentioned  by 
Blake  in  several  of  his  letters.1  For  a notice  of  the  author,  see  No.  36. 

i 1 2.  Psyche  Disobeys 

From  an  original  Invention  by  G.  Cumberland.  Engd.  by  W.  Blake. 
Publish’d  as  the  Act  directs  November  5,  1794.  Line;  oval,  45X5!  in. 

Cupid  reclines,  naked,  upon  a bed,  made  in  the  form  of  a bow.  Psyche, 
also  naked,  bends  over  him  with  a lamp.  The  figures  are  done  in  outline 
against  a dark  background. 

ii  1 3.  Psyche  Repents 

From  the  original  Invention  by  G.  Cumberland.  Engd.  by  W.  Blake. 
Publish’d  as  the  Act  directs  Novr.  5,  1794.  Line;  oval,  4^x  in. 

Psyche  clings  to  one  of  Cupid’s  ankles,  as  he  flies  from  her,  carrying 
his  bow  and  quiver. 

Outline,  against  a dark  background. 

iii  14.  Venus  Councels  Cupid 

From  an  original  Invention  by  G.  Cumberland.  Engd.  by  W.  Blake. 
Publish’d  as  the  Act  directs.  Nov.  5,  1794.  Outline  engraving; 

5|  x4§  in- 

Venus,  seated,  looks  up  into  her  son’s  eyes  who  stands  beside  her  (r.) 
with  his  arm  thrown  round  her  neck  ; he  has  a flower  in  his  left  hand  ; 
his  quiver  hangs  upon  a sapling  (1.). 

iv  15.  The  Conjugal  Union  of  Cupid 

From  an  original  Invention  by  G.  Cumberland.  Engd.  by  W.  Blake. 
Publish’d  as  the  Act  directs,  Nov.  5,  1794.  Outline  engraving; 

5t irX4i  in. 

1 See  “ The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  Methuen,  1906,  pp.  53,  54,  56, 
66,  70. 


164 


85  Cupid  stands  (1.)  with  his  hands  bound  to  a tree  stump.  Psyche  (with 
iv  wings)  floats  above  him  (r.). 


v 1 6.  Cupid  & Psyche 

From  an  original  Invention  by  G.  Cumberland.  Engd.  by  W.  Blake. 

Publish’d  as  the  Act  directs,  Novr.  5.  1794.  Outline  engraving; 
6|x 8|  in. 

Cupid  reclines,  naked,  upon  a couch,  with  his  head  resting  upon  a 
quiver  of  arrows.  Psyche,  a draped  figure  holding  a lamp,  sits  before  a 
window  beyond,  gazing  upon  him. 


vi 


Iron  Age 


“ Then  cursed  steel  Sc  more  accursed  gold 
Gave  mischief  birth  & made  that  mischief  bold.” 

Ovid,  Iron  Age. 


From  an  original  Invention  by  G.  Cumberland.  Engd.  by  W.  Blake. 
Publish’d  as  the  Act  directs  Novr.  5.  1794.  Outline  engraving; 

5|xql  in. 

A kneeling  woman  clasps  the  knees  of  a stern  male  figure,  with  a 
sceptre  (1.) ; a satyr  seizes  her  by  the  hair  behind.  Beyond,  a woman 
brandishes  a torch.  To  r.  another  satyr-like  figure  with  a poniard,  is 
held  back  by  a nymph. 


vii  Aristophanes  clouds.  Scene  I. 

From  an  original  Invention  by  G.  C.  Engd.  by  W.  B.  Publish’d  January  1, 
1 795.  Outline  engraving ; 5fx8|-in. 

Strepsiades,  a half-draped  figure,  sits  up  in  the  middle  of  a couch, 
reading  a book.  Pheidippides,  wrapped  in  fleeces,  lies  asleep  on  the 
same  couch  (r.).  An  attendant  stands  over  a lamp  (1.).  The  figures  are 
lettered  above  in  Greek  characters, — Therapon,  Strepsiades  and 
Pheidippides. 


viii  Anacreon.  Ode  LII. 

From  an  original  Invention  by  G.  C.  Engd.  by  W.  B.  Publish’d  Jany.  1, 
1795.  Outline;  4^x6^  in. 

A bacchanalian  scene  takes  place  in  and  around  a sarcophagus.  Two 
male  figures  stand  inside  the  sarcophagus.  One  of  them  brandishes  a 
thyrsus.  Another  seizes  a satyr  who  sits  on  the  ground  outside,  by  the 
beard.  A female  figure  (r.)  is  being  lifted  out  of  the  sarcophagus  by  a 
winged  youth.  The  front  of  the  sarcophagus  is  decorated  with  a couple 
of  dolphins. 


165 


85  The  Print  Room  has  two  sheets  of  studies  in  pen  and  ink  of  classical 
viii  figures  by  Blake,  with  inscriptions  by  Tatham  connecting  them  with  this 
volume. 


86  ELEMENTS  OF  ALGEBRA,  BY  LEONARD  EULER.  TRANS- 
LATED FROM  THE  FRENCH 

In  two  volumes.  (8vo.)  London : printed  for  J.  Johnson,  St  Paul’s 
Church-Yard,  1 797. 

A head  of  Euler,  engraved  by  Blake  from  a medallion,  serves  as 
frontispiece  to  Volume  I. 

Leonard  Euler  1 

Blake  sculp.  From  a Medallion,  as  large  as  life,  by  Ruchotte,  in  the 
possession  of  John  Wilmot  Esq1.  Stipple  and  line;  q§X2|  in. 

Head  and  neck.  Profile,  facing  1. ; a shaven  face,  with  rather  coarse 
features  and  a double  chin. 

Mentioned  in  a letter  to  Hayley,  dated  4th  May  1804.2  “Mr  Flaxman 
agrees  with  me  that  somewhat  more  than  outline  is  necessary  to  the 
execution  of  Romney’s  designs.  ...  I should  propose  to  etch  them  in  a 
rapid  but  firm  manner ; somewhat,  perhaps,  as  I did  the  e Head  of 
Euler.’  ” 


87  THE  MONTHLY  MAGAZINE  AND  BRITISH  REGISTER  FOR 
1797.  FROM  JULY  TO  DECEMBER,  INCLUSIVE 

Vol.  IV.  London.  Printed  for  R.  Phillips,  No.  71,  and  sold  by  J. 
Johnson,  No.  7 2 St  Paul’s  Church-yard,  1798. 

A portrait,  engraved  by  Blake,  of  Joseph  Wright  of  Derby,  faces  p.  289 
(in  the  number  for  October). 

The  late  Mr  Wright  of  Derby.3  For  The  Monthly  Magazine.  Sept.  1797. 
Blake:  s.  Line ; 3§x2§in. 

Bust.  Three-quarter  face,  looking  to  r. ; a shaven  face,  with  lips  slightly 
parted. 

The  portrait  is  accompanied  by  5!  pp.  of  text,  headed  : — “ Memoirs  of 
the  Life  and  principal  Works  of  the  late  Joseph  Wright,  Esq.  of 
Derby.” 

1 Leonard  Euler  (1707-1783)  Swiss  mathematician,  physicist  and  astronomer. 

2 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  p.  154. 

3 Joseph  Wright  of  Derby  (b.  1734;  d.  1797),  painter  of  portraits,  and  of  conversational  and 
historical  subjects  ; his  reputation  was  largely  made  by  his  fire  or  candlelight  pieces. 

166 


88  A NEW  AND  IMPROVED  ROMAN  HISTORY.  BY  CHARLES 
ALLEN,  A.M.  EMBELLISHED  WITH  FOUR  COPPER  PLATES 

The  second  edition,  London:  printed  for  J.  Johnson,  No.  72  St  Paul’s 
Church-yard.  1798.  (i2mo.) 

The  four  plates  are  engraved  by  Blake  after  designs  in  the  manner  of 
Fuseli.  Nos.  i.  and  iv.  are  signed,  Blake  s. ; Nos.  ii.  and  iii.,  Blake  sc. 
All  are  imprinted,  London , Published  Deer.  1,  1797  by  I.  Johnson, 
St  Paul’s  Church  Yard. 

i Mars  and  Rhea  Silvia.  P.  2 

5tx  3-nr  in. 

ii  The  Death  of  Lucretia.  P.  33 
5tx3l  in- 

iii  C.  Marius  at  Minturnum.  P.  i 74 
5|x3etV  in. 

iv  The  Death  of  Cleopatra.  P.  292 
5f  x 3t«  in- 

The  prints  have  little  interest  either  from  the  point  of  view  of  design  or 
engraving. 

89  A NEW  AND  IMPROVED  HISTORY  OF  ENGLAND.  BY 
CHARLES  ALLEN,  A.M.  AUTHOR  OF  THE  ROMAN  HISTORY, 
&c.  EMBELLISHED  WITH  FOUR  COPPER  PLATES 

The  Second  Edition,1  London:  Printed  for  J.  Johnson,  No.  72,  St 
Paul’s  Church-yard.  1798.  (i2mo.) 

Contains  four  plates  engraved  in  line  by  Blake ; each  bearing  the 
imprint:  London:  Published  Decr.  1.  1797  by  J.  Johnson,  St  Paul’s 
Church  Yard. 

i Alfred  and  the  Neat-herd’s  Wife.  P.  i 5 
Blake  : s.  5|x  3!  in. 

Alfred  sits  (1.),  with  a bow  in  his  hand  and  a big  feather  in  his  hat. 
A quiver  of  arrows  hangs  on  a peg  over  his  head.  The  angry  housewife 
enters  (r.)  and  angrily  points  to  the  burning  cakes  (r.). 

1 The  first  edition  (1793)  is  without  plates. 


167 


89  King  John  absolved  by  Pandulf.  P.  78 
Blake,  sc.  5rix  3J  in. 

The  King  kneels, Jin  front,  before  the  Cardinal,  who  sits  in  a throne 
above  him  (1.).  Beyond,  in  front  of  a colonnade,  stand  two  bishops  and 
other  figures. 

iii  Wat  Tyler  and  the  Tax-gatherer.  P.  128 
Blake:  s.  5f  X3fV  in. 

Wat  Tyler  brandishes  a hammer  over  the  prostrate  form  of  the  tax- 
gatherer.  His  scared  daughter  makes  off  to  1. 

iv  Queen  Elizabeth  and  Essex.  P.  224 
Blake  : s.  5 fix  3^  in. 

Elizabeth  (r.),  with  a grand  gesture,  dismisses  Essex  from  her  presence. 
He  sheaths  his  sword  as  he  goes,  looking  towards  the  queen.  A female 
attendant  stands  behind  the  queen  (r.)  and  to  1.  behind  is  a man. 
An  archway,  with  trees  beyond,  in  the  background. 


90  THE  POETRY  OF  VARIOUS  GLEES,  SONGS,  &c.,  AS  PER- 
FORMED AT  THE  HARMONISTS 

London  : Printed  at  the  Philanthropic  Reform,  London-Road,  St  George’s 
Fields,  1798.  (Sm.  4to.) 

The  frontispiece  is  engraved  by  Blake. 

Harmonists  (Frontispiece). 

Blake  sc:  ’Change  Alley.1  6ix4§  in. 

A group  of  three  infant  angels  sits  among  clouds,  singing  from  a book  of 
music.  Three  other  books  (one  of  them  lettered  Catches  Glees ) lie  by 

their  side.  Above  the  word  “Harmonists”  is  inscribed  on  clouds.  At  the 
top  is  a lyre  wreathed  with  bay,  with  the  head  of  an  angel  or  muse 
above  it. 


91  A LETTER  TO  THE  COMMITTEE  FOR  RAISING  THE  NAVAL 
PILLAR  OR  MONUMENT,  BY  JOHN  FLAXMAN,  SCULPTOR 
London  1799.  (A  4to  pamphlet,  issued  in  bluish  grey  paper  wrappers.) 
Contains  three  plates  engraved  by  Blake. 

1 An  example  of  the  book,  shown  to  the  writer  by  his  friend,  Mr  Keynes,  has  the  print  so  signed; 
it  is  unsigned  in  that  in  the  British  Museum.  The  address  “’Change  Alley,”  which  will  be  found  to 
recur  upon  the  prints  numbered  93  and  103  below,  is  not  Blake’s  own,  but  probably  that  of  the 
printer  with  whom  he  worked  on  these  occasions. 

168 


91  A Colossal  Statue  230  feet  high  : proposed  to  be  erected  on  Greenwich 
i hill.  Frontispiece. 

Blake  sculp.  Line;  7§X5|  in. 

The  following  explanation  of  the  plate  is  given  at  the  end  of  the 
pamphlet : — “ Statue  of  Britannia  Triumphant,  with  its  pedestal  and 
basement,  230  feet  high;  the  pedestal  decorated  with  the  Portraits  of 
His  Majesty,  and  the  Naval  Heroes,  Howe,  St  Vincent,  Duncan,  Nelson, 
&c.,  with  wreaths  of  laurel  on  the  altars,  at  the  corners  of  the  basement, 
to  contain  the  names  of  Captains,  &c.”  The  base  of  the  statue  is 
lettered: — “Britannia  by  Divine  Providence  Triumphant.”  A scale  of 
feet  is  given  on  the  r.  side. 

ii  Plate  2.  1.  Obelisk.  2.  Column.  3.  Meta.  4.  Arch.  5.  Pharos.  6.  Temple. 
7|x5H  in. 

A sheet  of  six  outline  designs  illustrating  the  various  forms  of  monument. 

iii  A View  of  Greenwich  Hospital  with  the  Statue  of  Britannia  on  the 
Hill. 

3ft  X7§  in. 

92  REV.  JOHN  CASPAR  LAVATER:  OF  ZURICH.  BORN  1741. 
DIED  1801 

Blake  sculpt.  Pubd.  May  1.  1800,  by  J.  Johnson,  in  Saint-Paul’s 
Church  Yard,  London,  from  a Drawing  in  his  possession,  taken  in  1787. 
Line;  an  oval  measuring  io|x8|  in.,  within  an  engraved  mount 
1 1 x 9§  in. 

Profile,  facing  1.  A shaven  face,  with  a noble  outline  and  keen  intellectual 
eyes.  He  wears  a skull-cap. 

Mr  W.  M.  Rossetti  writes  of  this  portrait 1: — “A  superb  and  masterly 
example.  As  an  engraver  merely,  Blake  ranks  high  on  the  strength  of 
this  plate  alone.  The  lines  of  the  face  are  especially  noteworthy  for  their 
skilful  play,  firmness  and  delicacy,” 


93  FOR  THE  NAVAL  MONUMENT.  WEDNESDAY,  28  MAY,  1800. 
Blake  sc.  ’Change  Alley.2  Line;  8|x5f  in. 

An  obelisk,  with  a medallion  of  the  King’s  head  upon  it,  is  set  upon 
a sea-girt  rock.  In  front  of  it  stands  an  angel  with  a trumpet,  surrounded 

1 See  Gilchrist’s  “ Life  ” (ed.  1880),  vol.  ii.  p.  282. 

2 For  a note  on  this  address,  see  No.  90  above. 


169 


93  by  cherubs,  three  of  whom  unfold  a scroll  inscribed  : — “ God  Save  The 
King.”  A violin  and  some  music,  together  with  guns,  shot,  and  an 
anchor  lie  upon  the  ground  in  front  of  the  monument. 

A ticket  of  admission  to  a concert  at  the  opera  house  in  aid  of  the  funds 
for  erecting  a naval  column  at  Greenwich ; from  Flaxman’s  design.  An 
example  printed  in  red  was  shown  at  the  exhibition  of  Blake’s  works  at 
the  Boston  Museum  of  Fine  Arts,  in  1891  (No.  136);  the  Print  Room 
has  an  impression  in  black. 


94  AN  ESSAY  ON  SCULPTURE:  IN  A SERIES  OF  EPISTLES  TO 
JOHN  FLAX  MAN,  ESCX  R.A.  BY  WILLIAM  HAYLEY,  ES^ 

London.  Printed  by  A.  Strahan,  Printers  Street;  For  T.  Cadell  jun.  and 
W.  Davies,  in  the  Strand.  1800. 

Contains  three  plates  engraved  by  Blake. 

i Pericles,  from  a Bust  in  the  Possession  of  Charles  Townley  Esq. 
To  face  the  Title 

(Without  signature).  Publish’d  June  14,  1800  by  Cadell  & Davis, 
Strand.  Line.  A circular  medallion  2 in.  in  diam.,  within  a wreath. 
Bust,  wearing  a helmet;  in  profile,  facing  1. 

Mentioned  in  a letter  to  Hayley,  dated  6th  May  1800: — “ 1 have  also 
sent  a proof  of  “Pericles”  for  your  remarks.  . . .” 

ii  The  Death  of  Demosthenes.  To  face  page  126 

“ He  views  this  Outrage  with  indignant  Eyes, 

And  at  the  Base  of  Neptune’s  Statue  dies.” 

Epistle  5,  verse  61. 

T.  H.  invenit.  W.  Blake  sc.  Outline  engraving;  5 x71k  in. 

Demosthenes  sinks  into  the  arms  of  a youth  (1.)  before  the  base  of  the 
statue  which  is  lettered,  in  Greek  letters,  Poseidoni.  To  r.  there  are 
three  soldiers,  with  helmets,  spears  and  shields. 

T.  FL,  the  designer  of  the  print,  is  Flayley’s  son,  Thomas,  the  subject  of 
the  medallion  below. 

iii  Thomas  Hayley,  the  Disciple  of  John  Flaxman  from  a Medallion. 
To  face  page  163 

Blake  sc.  Published  June  14,  1800  by  Cadell  & Davis,  Strand.  Stipple 
and  line  ; circular,  in.  (diam.). 

Profile,  facing  1.  The  youth  has  long  thick  hair  falling  to  his  shoulders. 
From  a medallion  by  Flaxman.  Thomas  Alphonso  Hayley,  the  natural 
son  of  William  Hayley,  was  born  5th  October  1780  and  died  early  in 

170 


. '// //•'/■> /'rr  / /'O. 

• //.■•  //  / sy  * > _ /sro/rf  } '//>//  . 


Plate  31 

PORTRAIT  OF  MICHELANGELO 
From  Fuseli's  “ Lectures  on  Painting,”  i£oi.  (95) 


94  1800.  He  was  the  pupil  of  Flaxman,  who  afterwards  executed  a memorial 

iii  of  him  in  Eartham  Church.  In  a letter  to  Hayley,  dated  ist  April  1800, 
Blake  alludes  to  his  rendering  of  the  medallion  as  “my  attempt  to 
express  your  or  our  much  beloved’s  countenance  ” ; and  on  6th  May 
following,  enclosing  a proof,  he  adds — “ I send  the  shadow  of  the 
departed  angel,  and  hope  the  likeness  is  improved.  The  lips  I have  again 
lessened  as  you  advise,  and  done  a good  many  other  softenings  to  the 
whole.”  Mr  B.  B.  Macgeorge  of  Glasgow,  in  a volume  of  miscellaneous 
Blake  items,  has  a carefully  finished  pencil  drawing  of  the  youth,  also 
by  Blake;  it  is  not,  however,  connected  with  the  medallion.  The  drawing 
of  the  medallion  from  which  Blake  executed  his  engraving  is  said  by 
Gilchrist  1 to  have  been  furnished  by  Howard. 


95  LECTURES  ON  PAINTING,  DELIVERED  AT  THE  ROYAL 
ACADEMY  MARCH  1801,  BY  HENRY  FUSELI,  P.P.  WITH 
ADDITIONAL  OBSERVATIONS  AND  NOTES 
London:  Printed  for  J.  Johnson,  St  Paul’s  Church-yard.  1801.  (4to.) 

The  tail-piece  to  the  third  and  last  lecture  (p.  151)  is  engraved  by  Blake, 
after  a design  presumably  by  Fuseli.  It  is  lettered  beneath: — “ Ancora 
imparo.  M : Angelo  Bonarroti.” 

Blake  sc.  Line  ; 4fix  2yi  in. 

The  aged  Michelangelo,  with  bent  head  and  with  a staff  in  his  left  hand, 
walks  towards  the  r.,  turning  an  intent  visionary  gaze  towards  the 
spectator.  The  Coliseum  appears  in  the  background. 

The  likeness  is  based  upon  well-known  portraits,  but  the  strength  and 
awe  which  mingle  in  the  eyes  are  peculiarly  Blake’s  own  and  serve  to  mark 
the  character  of  him  whom  he  considered  the  greatest  of  all  visionary 
artists ; and  even  if  the  design  be  Fuseli’s,  as  seems  to  be  the  case,  the 
print  still  remains  an  original  and  striking  example  of  Blake’s  work  as 
an  engraver. 

The  design  of  a vignette  upon  the  title-page  (a  bowed  female  figure, 
representing  “ Silence  ” ) engraved  by  F.  Legat,  sometimes  ascribed  to 
Blake,  is  by  Fuseli. 


96  THE  LIFE  AND  POSTHUMOUS  WRITINGS,  OF  WILLIAM 
COWPER,  ESQ^  BY  WILLIAM  HAYLEY,  ESCh 

Chichester:  Printed  by  J.  Seagrave;  For  J.  Johnson,  St  Paul’s  Church- 
Yard,  London.  1803  (-1804).  (3  vols.  4to.) 

1 The  “ Life  ” (ed.  1880),  vol.  1.  p.  143. 


171 


96  Contains  six  plates  engraved  by  Blake. 

Vol.  I. 

i William  Cowper.  “ Carmine  Nobilem.”  Hor  : (Frontispiece) 

From  a portrait  in  Crayons  Drawn  from  the  Life  by  Romney  in  1792. 
Engraved  by  W.  Blake  1802.  Publish’d  Novembr.  5,  1802  by  J.  Johnson 

St  Paul’s  Church  Yard.  Line;  7 re  X 5xi  in. 

Bust,  three-quarter  face,  looking  towards  1. ; wearing  a white  cap. 

The  drawing  was  made  by  Romney  while  on  a visit  to  Hayley  at  Eartham 
in  1792,  and  was  the  inspiration  of  Cowper’s  sonnet  “ To  George  Romney, 
Esq.”  It  has  lately  been  acquired  by  the  National  Portrait  Gallery.  Blake 
also  made  a miniature  copy  of  it,  which  is  now  in  the  possession  of  Canon 
Cowper  Johnson  ; it  is  alluded  to  in  a letter  from  Hayley  to  Romney, 
dated  3rd  February  1801  1 : — I have  taught  him  (Blake),  he  says,  to 
paint  in  miniature,  and  in  truth  he  has  made  a very  creditable  copy  from 
your  admirable  portrait  of  the  dear  departed  bard,  from  which  he  will 
also  make  an  engraving.”  The  drawing  by  Romney  was  re-engraved  by 
Caroline  Watson  for  the  frontispiece  of  the  8vo  edition  of  the  “Life” 
(1805). 

ii  Mrs  Cowper,  Mother  of  the  Poet.  (Facing  p.  4) 

D.  Heins  Pinx.  W.  Blake  sculpt.  Publish’d  Novembr.  5,  1802  by  J. 
Johnson,  St  Paul’s  Church  Yard.  Line  ; 6A-  x 5W  in- 

An  oval,  in  an  oblong  frame.  Bust,  full  face,  slightly  turned  towards  1. 
In  a low  dress,  with  her  hair  falling  over  her  shoulders. 

Vol.  II. 

iii  William  Cowper — Author  of  “The  Task.”  (Frontispiece) 

T.  Lawrence  R.A.  ad  vivum  del.,  1 793*  W.  Blake  sculp.  1802.  Chalk 
engraving ; 9^  x 61  in. 

An  engraving  in  imitation  of  the  original  drawing.  Bust,  face,  looking 
towards  1.;  wearing  a cap. 

Mentioned  in  a letter  to  Playley,  dated  20th  September  1804.2 

iv  The  Pheasant’s  Nest.  Cowper’s  tame  Hares.  (Vignette  on  p.  415) 

Blake  d.  & sc.  Publish’d  Nov.  5,  1802  by  J,  Johnson  St  Paul’s  Church 
Yard. 

1 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  1906,  p.  87. 

2 Ibid.  p.  167. 


172 


96  Vol.  III. 

v A View  of  St  Edmund’s  Chapel,  in  the  Church  of  East  Dereham, 
Containing  the  Grave  of  William  Cowper,  Esqre.  (Frontispiece) 

Francis  Stone  del.  W.  Blake  sculp.  Publish’d  by  J.  Johnson,  St  Paul’s, 
25  March,  1804.  Line;  7fx5§  in. 

Alluded  to  in  a letter  from  Flaxman  to  Hayley,  dated  2nd  January  1 804  ; 1 
and  on  the  23rd  February  following,  Blake  himself  wrote  to  Flayley  2: — 
“ The  plates  of  Cowper’s  monument  are  both  in  great  forwardness,  and 
you  shall  have  proofs  in  another  week.  I assure  you  that  I will  not  spare 
pains,  and  am  myself  very  much  satisfied  that  I shall  do  my  duty  and 
produce  two  elegant  plates.  There  is,  however,  a great  deal  of  work  in 
them  that  must  and  will  have  time.” 

vi  A Sketch  of  the  Monument  Erected  in  the  Church  of  East  Dereham 
in  Norfolk,  In  Memory  of  William  Cowper  Esqre.  (Facing  p.  416) 

Etch’d  by  W.  Blake  from  the  original  Model  by  John  Flaxman  Esqr., 
Sculptor  to  his  Majesty. 

Publish’d  by  J.  Johnson,  St  Paul’s,  25  March,  1804. 

A good  many  references  to  Blake’s  work  of  engraving  and  to  his 
collection  of  material  for  the  ‘‘Life  of  Cowper”  will  be  found  in  his 
letters.3  The  work  was  begun  at  Felpham.  On  the  11th  September  1801 
he  wrote : — “ My  principal  labour  at  this  time  is  engraving  plates  for 
Cowper’s  ‘ Life.’  ” The  plates  for  the  third  volume  were  undertaken  after 
his  return  to  London,  and  on  the  1 8 th  March  1804,  he  wrote  to  his 
employer:  — “Engraving  is  eternal  work.  The  two  plates  are  almost 
finished.  You  will  receive  proofs  of  them  from  Lady  Hesketh,” — “whose 
copy  of  Cowper’s  ‘ Letters,”’  he  adds,  “ought  to  be  printed  in  letters  of 
gold  and  ornamented  with  jewels  of  Heaven,  Havillah,  Eden,  and  all  the 
countries  where  jewels  abound.” 


97  THE  TRIUMPHS  OF  TEMPER.  A POEM : IN  SIX  CANTOS.  BY 
WILLIAM  HAYLEY,  ESQ.  WITH  NEW  ORIGINAL  DESIGNS,  BY 
MARIA  FLAXMAN 

The  twelfth  edition,  corrected.  Chichester:  Printed  by  J.  Seagrave;  For 
T.  Cadell  and  W.  Davies,  Strand,  London,  1803.  (8vo.) 

Contains  six  plates,  engraved  in  line,  by  Blake  after  Maria  Flaxman’s 
designs. 

1 See  “The  Letters  of  William  Blake,”  p.  133. 

2 Ibid.  p.  145. 

3 Ibid.  pp.  xxx.  30,  87,93,  133,  145-6,  155,  160,  1 8 x . 

US 


97  Canto  I.  Verse  29  (facing  p.  2). 

1 Maria  Flaxman  inv.  & del.  W.  Blake  sculp. 

Publish’d  May  1,  1803,  by  Cadell  & Davies,  Strand. 

4§X  3 in. 

Sir  Gilbert  sits  (r.)  beneath  a tree  in  an  arm-chair,  with  a book.  Serena 
brings  him  fruit  in  a basket.  A lily  grows  by  her  side  (1.).  Trees  in 
background. 

ii  Canto  II.  Verse  471  (facing  p.  48) 

(etc.,  as  in  No.  i.) 

4 To  X 3t-6  in- 

Serena  kneels  in  prayer,  at  her  toilet-table.  A lamp  burns  r.  upon  a stand. 
To  1.  is  her  bed,  with  a chair  beside  it. 

iii  Canto  III.  Verse  201  (facing  p-  ^5 5 ) 

(etc.,  as  No.  i.,  but  with  sc.  instead  of  sculp.') 

4^x3!  in. 

Serena,  with  folded  hands,  enters  the  cavern  of  Spleen,  which  is  filled 
with  evil  spirits. 

iv  Canto  IV.  Verse  328  (facing  p.  97) 

(etc.,  as  in  No.  i.) 

4re><2u  in- 

Serena  (r.)  sits  with  her  parents  (1.)  at  a tea-table  by  a wandow  (1.). 
She  turns  away  from  the  table  and  hangs  her  head  reflectively  over  a 
volume  of  Chesterfield’s  speeches  which  lies  open  upon  a chair  beside  her. 

v Canto  V.  Verse  43  (facing  p.  105) 

(etc.,  as  in  No.  i.) 

4 fe  X 3!  in. 

Quiet  descends  (1.)  on  faery  wings,  bearing  a filmy  mantle  which  falls 
upon  the  sleeping  Serena.  Curtains  part  on  either  side  of  the  design. 

vi  Canto  VI.  Verse  294  (facing  p.  154) 

(etc.,  as  in  No.  i.) 

4^x3!  in. 

Serena  at  the  masquerade.  She  removes  her  mask.  A dark  figure  in  bear 
skins  and  holding  a club  stands  by  her.  Other  figures  in  fancy  dress, 
behind. 

Maria  was  half-sister  to  John  FJaxman.  In  a letter  to  Butts,  dated  10th 

174 


97  Jan.  1802  Blake  writes:— “I  am  now  engaged  in  engraving  six  small 
vi  plates  for  a new  edition  of  Mr  Hayley’s  ‘Triumphs  of  Temper,’  from 
drawings  by  Maria  Flaxman,  sister  to  my  friend  the  sculptor.”  Large 
paper  copies  of  the  book  are  occasionally  met  with. 


98  (PORTRAIT  OF  ROMNEY) 

(?  1804.) 

A portrait  of  Romney  was  engraved  by  Blake  for  Hayley’s  “ Life  of 
Romney”  (1809).  It  was,  however,  in  the  end  rejected,  and  the  task  of 
engraving  the  portraits  for  the  book  was  handed  over  to  Caroline 
Watson.  The  author  has  been  unsuccessful  in  his  search  for  an  example 
of  Blake’s  print.  He  was  at  w'ork  upon  it  in  the  years  1803-4,  and  often 
alludes  to  it  in  his  letters  of  that  date.  On  7th  October  1803,  he  writes 
to  Hayley  : — “ I lose  no  moment  to  complete  Romney  to  satisfaction,” 
and  again  on  the  26th  of  the  same  month  : — “ I go  on  finishing  Romney 
with  spirit.”  On  23rd  February  following,  he  speaks  of  having  shown  his 
portrait  to  Daniel  Braithwaite  (one  of  Romney’s  patrons)  wrho  “knew  it 
immediately  and  assured  me  he  thought  it  a very  great  likeness,” 
adding  later  in  the  same  letter: — “Mrs  Flaxman  and  her  sisters  gave 
also  their  testimony  to  my  likeness  of  Romney.”  In  a letter  of  20th 
September  1804,  he  promises  Hayley  shall  soon  see  a proof  of  the 
“ Head  of  Romney  ” “ in  a very  advanced  state.”  . . . “ I have  not  yet 
proved  it,”  he  explains,  “ but  soon  shall,  when  I will  send  you  one.” 

We  learn  from  another  letter  to  the  same  patron  (dated  12th  December 
1804),  that  Blake  made  “a  very  high  finished  drawing  of  Romney”  as  a 
study  for  his  engraving;  “Flaxman,”  he  says,  “is  very  much  satisfied, 
and  says  that  when  my  print  is  like  that  I need  wish  it  no  better,  and  I 
am  determined  to  make  it  so  at  least.”  The  drawing  turned  up  in  a sale 
at  Sotheby’s  of  29th  April  1862  (included,  with  several  other  drawings 
by  Blake,  in  Lot  178  : purchased  by  a Mr  Ford  for  13s.),  but  has  since 
disappeared. 


99  SHAKESPEARE,  EDITED  BY  ALEXANDER  CHALMERS,  WITH 
ILLUSTRATIONS  BY  FUSELI.  Rivington.  1805  (10  vols.  8vo) 

Two  of  Fuseli’s  designs,  “Queen  Katharine’s  Dream”1  (vol.  vii.,  facing 
p.  235)  and  “Romeo  and  the  Apothecary”  (vol.  x.,  facing  p.  107)  are 
engraved  in  line  by  Blake. 

1 A painting  by  Fuseli  of  this  subject  was  exhibited  at  the  Academy  in  1781. 


175 


99  Katharine,  Griffiths  & Patience.  King  Henry  VIII.,  Act  IV.  Sc.  II. 

“ Kath.  Spirits  of  peace , where  are  ye  ? Are  ye  all  gone  ? " 

Fuseli  inv.  Blake  sculp.  Publish’d  May  12,  1804,  by  F.  & C.  Rivington, 
St  Paul’s  Church  Yard.6x6  x 3§  in. 

The  Queen  awakes,  as  the  spirits  vanish.  The  feet  of  two  of  them  are 
seen  disappearing  high  up  on  the  1.  Patience,  seated  upon  the  ground  (r.) 
by  the  bedside,  telling  her  beads,  looks  up  at  her.  The  aged  Griffiths  is 
asleep  over  a book  in  a chair  (r.). 

ii  (Romeo  and  the  Apothecary.)  Romeo  and  Juliet,  Act  I.1  Sc,  I. 

“ Enter  Apothecary 

Romeo.  Come  hither  Man. — I see  that  thou  art  poor  : 

Hold,  there' s forty  ducats  : — ” 

FI.  Fuseli  R.A.  inv.  W.  Blake  sc.  Publish’d  by  C.  & F.  Rivington. 
London.  Jan.  14,  1804.  6^x3!  in* 

Romeo,  entering  r.,  in  a plumed  hat,  holds  up  a purse  before  the 
apothecary  (h),  who  eyes  him  keenly.  The  latter  is  a short  lean  figure, 
meanly  clad,  with  a prominent  nose  and  projecting  chin  and  eyebrows; 
he  holds  a knife  in  one  hand  and  a sprig  of  herbs  in  the  other.  A stuffed 
alligator  hangs  in  the  window,  and  other  properties  deemed  suitable  to 
an  apothecary  are  seen  about  the  room. 

The  two  prints  for  Fuseli’s  Shakespeare  are  several  times  alluded  to 
by  Blake  in  his  letters.  On  the  26th  October  1803  he  writes  to 
Flayley : — “I  have  got  to  work  after  Fuseli  for  a little  Shakespeare” ; 
and  on  the  23rd  February  following  he  forwards  to  him  “ the  twenty- 
two  numbers  of  Fuseli’s  Shakespeare  that  are  out.”  We  learn  from 
another  letter  to  Flayley  (dated  22nd  June  1804)  that  he  was  paid  five 
and  twenty  guineas  each  for  the  plates.  On  the  28th  December  1804,  he 
again  speaks  of  them  in  a letter  to  Hayley  : — “ I feel  very  much  gratified 
at  your  approval  of  my  “ Queen  Catherine  ” : beg  to  observe  that  the 
print  of  “Romeo  and  the  Apothecary”  annexed  to  your  copy  is  a 
shamefully  worn-out  impression,  but  it  was  the  only  one  I could  get  at 
Johnson’s.  I left  a good  impression  of  it  when  I left  Felpham  last  in  one 
of  Fleath’s  Shakespeare : you  will  see  that  it  is  not  like  the  same  plate 
with  the  worn-out  impression.” 

100  THE  ILIAD  OF  HOMER.  ENGRAVED  FROM  THE  COMPOSI- 
TIONS OF  JOHN  FLAXMAN  R.A.  SCULPTOR,  LONDON 
London  : printed  for  Longman,  Hurst,  Rees  & Orme  . . . (etc.,  etc.), 
March  1,  1805.  (Oblong  folio.) 

1 Misprint  for  Act  V. 


176 


100  Three  of  the  plates  in  this  (the  second)  edition  are  engraved  by  Blake. 
The  plates  in  the  first  edition  (1793)  are  all  engraved  by  Piroli. 

i Homer  invoking  the  Muse.  I.  1.  Plate  1 

“ Achilles  wrath  to  Greece  the  direful  spring, 

Of  woes  unnumbered  heavenly  goddess  sing  ! ” 

Pope’s  “Homer’s  Iliad.” 


Blake  sculp.  6fx9^  in. 

ii  Minerva  repressing  the  Fury  of  Achilles.  Plate  2 


“ While  half  unsheath’d  appear’d  the  glittering  blade, 

Minerva  swift  descended  from  above.” 

Pope’s  “ Homer’s  Iliad,”  Book  I.  line  260. 

Blake  sculp.  6|x  xof-  in. 


iii  Thetis  entreating  Jupiter  to  honor  Achilles.  I.  511.  Plate  5 

“ Thus  Thetis  spoke  but  Jove  in  silence  held 
The  sacred  councils  of  his  breast  conceal’d.” 

Pope’s  “ Homer’s  Iliad,”  Book  I.  line  662. 


Blake  sculp.  6-fix  8^  in. 

The  “Homer”  is  twice  alluded  to  in  Blake’s  “Letters.”  In  a letter 
addressed  to  Hayley,  dated  2nd  April  1804/  he  writes: — “There  is  now 
in  hand  a new  edition  of  Flaxman’s  Homer , with  additional  designs, 
two  of  which  I am  now  engraving  ” ; and  in  another  to  the  same,  dated 
4th  May  1 804 2 : — “The  price  I receive  for  engraving  Flaxman’s 
outlines  of  Homer  is  five  guineas  each.”  3 


101  AN  INQUIRY  INTO  THE  REQUISITE  CULTIVATION  AND 
PRESENT  STATE  OF  THE  ARTS  OF  DESIGN  IN  ENGLAND. 
BY  PRINCE  HOARE 

London:  Printed  for  Richard  Phillips,  no.  6,  Bridge-Street,  Blackfriars. 
By  B.  McMillan,  Bow-Street,  Covent-Garden.  1806.  (8vo). 

Frontispiece  by  Blake,  after  Reynolds. 

1 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  p.  147  (No.  34). 

2 Ibid.  p.  134  (No.  37). 

3 Cp.,  also,  an  unpublished  letter  from  Flaxman  to  Hayley,  dated  1st  May  1804: — “ Mr  Blake  is  to 
have  from  5 to  6 guineas  each  from  Messrs  Longman  & Rees  for  the  plates  of  Homer,  according  to 
the  labour.” 


M 


177 


101  The  “ Graphic  Muse  ” 


Sr.  Josha.  Reynolds  pinxt.  Blake  sc.  Pubd.  Feby.  21,  1806,  by  R.  Phillips, 
No.  6,  Bridge  Street,  Blackfriars.  Outline  engraving;  3^x3^  in. 

The  “ Graphic  Muse  ” is  represented  enthroned  upon  clouds,  holding  a 
scroll,  marked  “ Theory,”  1 in  her  right  hand. 

Underneath  the  print  these  lines  are  inscribed : — 

. To  explore 

What  lovlier  forms  in  Nature’s  boundless  store 
Are  best  to  Art  allied  ...” 

It  is  also  stated  below  that  the  design  was — “ Sketched  from  the  Picture 
by  Sir  Joshua  Reynolds  on  the  ceiling  of  the  Library  of  the  Royal 
Academy.”  This  painting,  long  ago  removed  from  its  original  situation  in 
Somerset  House,  hung  until  recently  in  the  Diploma  Gallery  at  Burlington 
House  and  has  now  been  transferred  to  the  Council  Chamber.  An 
account  of  the  present  volume  and  its  frontispiece  was  contributed  by 
Miss  Katharine  A.  McDowall  to  The  Burlington  Magazine , No.  x.,  pp. 
113-115.2  Its  author,  Prince  Hoare,  the  painter,  is  several  times 
sympathetically  spoken  of  by  Blake  in  his  letters. 


102  THE  LIFE  OF  GEORGE  ROMNEY,  ESQ^  BY  WILLIAM 
HAYLEY,  ESCh 

Chichester : Printed  by  W.  Mason,  For  T.  Payne,  Pall-Mall,  London. 
1809.  (d-to.) 

Sketch  of  a Shipwreck,  after  Romney.  (Facing  p.  84.) 

Engraved  by  Blake.  Published  April  14th  1809  by  Thomas  Payne,  Pall 
Mall.  Line;  5^x7  in. 

From  an  oil  sketch  by  Romney  illustrating  a story  told  in  the  travels  of 
Thunberg,  of  a horseman,  named  Woltemad,  at  the  Cape  of  Good  Hope, 
rescuing  from  the  sea  the  sufferers  in  a shipwreck. 

Blake’s  letters  contain  a number  of  references  to  matters  connected  with 
Hayley’s  “ Life  of  Romney,”  3 for  which  he  was  employed  in  the 
collection  of  material  as  well  as  in  the  capacity  of  engraver.  In  a letter 
to  Hayley  of  22nd  June  1804  4 he  speaks  of  Romney’s  original  sketch 
of  the  “Shipwreck”  as  being  already  in  his  hands;  by  the  20th 

1 In  the  original,  the  legend  upon  the  scroll  reads: — “Theory  is  the  knowledge  of  what  is  truly 
Nature.” 

2 The  volume  is,  however,  by  no  means  either  so  rare  or  so  little  known  as  it  is  there  stated  to  be. 

3 See  “The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell,  1906,  pp.  130-190  (passim ). 

4 See  p.  164  of  “The  Letters.” 


178 


102  September  his  print  was  practically  finished  1 and  on  the  18th  December 
a proof  was  sent  to  his  employer.2  A few  finishing  touches  were  added  a 
year  later,  before  the  return  of  the  sketch  to  its  owner,  Mr  Sanders.3 
Blake  seems  to  have  taken  Fittler’s  dull  illustrations  of  Falconer’s  poem 
of  “The  Shipwreck”  (1804)  as  his  model,4  and  it  is  certain  that  he 
took  immense  pains  to  adapt  himself  to  the  taste  of  his  patron.5  The 
result  is  a laborious  piece  of  work  which  is  in  no  way  characteristic  of 
his  genius.  Blake  also  engraved  a portrait  of  Romney  for  the  “ Life  ” ; 
it  was  not,  however,  made  use  of  (see  No.  99). 


103  TICKET  OF  ADMISSION.  THE  COMPANY  OF  PROPRIETORS 
OF  THE  WEST  MIDDLESEX  WATER  WORKS 

Blake  sc.  ’Change  Alley.  Line;  8§x6^w  in. 

The  ticket  is  designed  in  imitation  of  a monumental  slab.  It  is  inscribed 
at  the  top: — “The  Company  of  Proprietors  of  the  West  Middlesex 
Water  Works.  Opened  on  the  4th  Deer.  1809,  being  the  50th  year  of 
the  Reign  of  his  Majesty  George  3rd.”  Below  the  inscription  is  a small 
design  (measuring  2^x35  in.)  representing  a bearded  water-god,  with  a 
wreath  upon  his  head,  sitting  naked  under  a tree  by  the  source  from 
which  the  water  issues;  a draped  nymph,  with  wings  upon  her  head, 
presents  him  with  a scroll ; a pile  of  water-pipes  lies  beyond,  and  in  the 
background  there  are  some  houses  and  a church  steeple.  Underneath  is 
the  legend : — “ Fontes  Perennis  Aquae.”  The  lower  part  of  the  ticket  is 
occupied  with  a list  of  Directors,  and  the  Chief  Clerk’s  name  appears  in 
the  r.  hand  corner  of  the  base. 


104  THE  RIGHT  HON.  EARL  SPENCER  6 

(Engraved  by  Blake  after  T.  Phillips  R. A.)  (?c.  i8n.)Line;  ni|X9|  in. 
Bust,  three-quarter  face  looking  to  1.  A shaven  face,  strong  and  full  of 
character.  He  wears  a white  necktie,  and  has  the  star  of  the  garter  upon 
his  coat. 

The  Print  Room  has  a proof  before  letters,  marked  in  pencil: — “Blake 
sculpt.,”  “never  published”;  the  paper  upon  which  it  is  printed  is 

1 See  p.  166  of  “The  Letters.” 

2 See  p.  172  of  “ The  Letters.” 

3 See  pp.  189-190  of  “ The  Letters.” 

1 See  p.  152  of  “ The  Letters.” 

5 See  pp.  166,  172,  173,  177  and  190  of  “ The  Letters.” 

6 George  John  Spencer,  second  Earl  Spencer,  born  1st  Sept.  1758,  d.  1834  ; served  in  the  ministries  of 
Pitt,  Fox  and  Grenville,  and  was  First  Lord  of  the  Admiralty  from  1794-1801  ; was  a man  of  con- 
siderable culture  and  developed  the  library  at  Althorpe  into  one  of  the  finest  then  in  existence. 

179 


104  watermarked  with  the  year  1811,  which  is  the  only  indication  of  the 
date  of  the  plate.  A proof  was  sold  in  the  Aspland  Sale  at  Sotheby’s, 
27th  Jan.  1885  (Lot  10). 


105  THE  CYCLOPAEDIA;  OR,  UNIVERSAL  DICTIONARY  OF 
ARTS,  SCIENCES,  AND  LITERATURE.  BY  ABRAHAM  REES 

Seven  plates  engraved  by  Blake  are  to  be  found  in  the  volumes  contain- 
ing the  illustrations  to  this  Encyclopaedia. 

Volume  I.  of  the  Plates 

i Armour.  Plate  IV.  & V. 

Blake  sc.  Published  as  the  Act  directs,  Deck  10,  1818,  by  Longman, 
Hurst,  Rees,  Orme  & Brown,  Paternoster  Row.  Line;  io|x8^  in. 

Ten  armed  figures  are  presented,  showing  various  types  of  ancient 
armour;  a helmet  and  a croupi^re  (or  buttock-piece  for  a horse)  are  also 
illustrated. 

Volume  II.  of  the  Plates 

ii  Basso  Relievo.  Plate  IV.1 

Blake  sc.  Published  by  Longman,  Hurst,  Rees,  Orme  & Brown,  London, 
Novemh  11th  1818.  Stipple  and  line  ; 1 1 x 7§  in. 

Fig.  1.  Basso-relievo  round  a Capital  in  the  Cathedral  of  Carrara. 
Fig.  2.  Basso-relievo  of  Zethus  Antiope  & Amphion.  Five  examples  of 
Pagan  Altars  (numbered  1-5)  are  also  illustrated. 

Volume  III.  of  the  Plates 

iii  Miscellany.  Gem  Engraving. 

Drawn  by  Farey.  Engraved  by  W.  Blake  & W.  Lowry.  Published  as 
the  Act  directs,  1819,  by  Longman,  Hurst,  Rees,  Orme  & Brown, 
Paternoster  Row.  Line;  io|x8i  in. 

The  three  medallions  below,  showing  a gem  in  the  various  stages  of  its 
production,  are  engraved  by  Blake.  The  pictures  above  of  the  instru- 
ments employed  in  the  process  are  the  work  of  Lowry.2 

1 The  articles  in  the  Encyclopaedia  on  “ Basso  Relievo  ” and  on  “ Sculpture  ’’were  written  by  Flaxman. 
See  “ The  Letters  of  William  Blake,”  edited  by  A.  G.  B.  Russell  (1906),  p 136,  where  the  following 
allusion  to  the  former  occurs  in  a letter  from  Flaxman  to  Hayley,  dated  2nd  January  1804: — “ ...  I 
have  troubled  you,  by  Mr  Blake,  with  a short  tract  written  for  Dr  Rees’s  Cyclopadia , on  ‘ Basso 
Relievo,’  with  one  of  the  prints  reierred  to  at  the  end  of  the  article ; the  rest  are  not  yet 
engraven.  ...” 

2 A portrait  of  Lowry  was  afterwards  engraved  by  Blake  in  collaboration  with  Linnell  (see  No.  109). 

180 


105  Volume  IV.  of  the  Plates 

IV 

Sculpture.  Plate  I. 

Blake  sc.  London,  Published  as  the  Act  directs.  Feby.  i,  1816,  by 
Longman,  Hurst,  Rees,  Orme  & Brown,  Paternoster  Row.  Stipple ; 
1 1 x 8|  in. 

Six  specimens  of  antique  sculpture  are  here  delineated  : — (1)  Hercules  of 
Daedalus,  from  a small  Bronze.  (2)  Cupid  of  Praxiteles,  British  Museum, 
&c.  (3).  Minerva  of  Dipoenus  & Scyllis,  in  the  Villa  Albani.  (4)  Venus  of 
Praxiteles,  Perrier’s  “Statues.”  (5)  Jupiter  Olympius.  See  Pausanias, 
“ Ancient  Statues,  Coins  & Gems.”  (6).  Minerva  of  the  Airopoli,  in  Athens. 
See  Hunter’s  “Coins.” 

Blake’s  drawing  for  the  “ Jupiter  ” was  lent  by  the  late  Mr  George  Smith 
to  the  Burlington  Fine  Arts  Club  Exhibition  of  Works  by  Blake  in  1876 
(No.  228  in  the  Exhibition  Catalogue) ; it  is  now  in  Mr  Stopford  Brooke’s 
collection. 

v Sculpture.  Plate  II. 

Blake,  sculp.  Published  as  the  Act  directs,  Jany.  1,  1816,  by  Longman, 
Hurst,  Rees,  Orme  & Brown,  Paternoster  Row.  Stipple ; 1 1 x 8^  in. 

A group  of  “ Dirce  ” and  two  figures,  of  the  “Hercules  Farnese”  and 
“ Phocion,”  are  here  copied  from  the  antique. 

vi  Sculpture.  Plate  III. 

Blake  del.  et  sc.  Published  as  the  Act  directs,  Octr.  1,  1815  by  Longman, 
Hurst,  Rees,  Orme  & Brown,  Paternoster  Row.  Stipple;  n x8|  in. 

The  “ Laocoon,”  1 the  “ Venus  de  Medicis  ” and  the  “ Apollo  Belvedere  ” 
are  here  represented. 

vii  Sculpture.  Plate  IV. 

Blake  sculp.  Published  as  the  Act  directs,  March  1,  1816,  by  Longman, 
Hurst,  Rees,  Orme  & Brown,  Paternoster  Row.  Stipple  and  line ; 1 1 x 8|  in. 

The  following  specimens  of  antique  sculpture,  etc.,  of  the  East  and  West 
are  here  depicted (1)  Durga  Slaying  Mahishasura,  a Hendee  group. 
(2)  An  Etruscan  Patera  in  the  British  Museum.  (3)  A Colossal  Statue 
at  Thebes.  (4)  Persian  Sculpture  at  Persepolis.  (5)  A Chinese  Statue. 
(6)  Persian  Sculpture  at  Persepolis. 

1 Cp.  No.  28.  Blake’s  original  drawing  for  the  print  of  the  “ Laocoon,”  done  from  a cast  of  the 
antique  group  at  the  Royal  Academy,  is  still  in  existence;  it  is  inscribed  by  Tatham:  “This  draw- 
ing was  made  by  Mr  Blake  in  the  Royal  Academy,  Somerset  House,  for  a small  plate  he  made  of  the 
‘ Laocoon  ’ for  the  article  in  the  Encyclopaedia.  The  article  itself  was  on  ‘ Sculpture,’  being  written  by 
Flaxman.  When  Mr  B.  was  drawing  this,  his  old  friend  Fuseli  came  in  and  said,  ‘Why,  Mr  Blake, 
you  a student ; you  ought  to  teach  us.’  ” 

l8l 


106  (WEDGWOOD’S  BOOK  OF  DESIGNS) 

(?  c.  1816.) 

Eighteen  sheets  of  miscellaneous  designs  for  pottery  were  engraved  by 
Blake  in  outline  for  one  of  Wedgwood’s  books  of  designs.  The  plates 
(each  marked  with  Wedgwood’s  name  at  the  top)  measure  8|x6|  in. 
(approx.),  and  all  (with  the  exception  of  pi.  5,  which  is  signed  Blake  d.  s .) 
are  signed,  Blake  d.  Iff  sc.  A complete  set  of  the  designs  exists  in  the 
Linneil  collection.  The  Print  Room  has  four  pages  of  proof  sheets,  which 
are  without  the  name  “Wedgwood”  and,  two  of  them,  unsigned;  there 
are  also  some  marks  of  correction ; one  of  the  sheets  has  the  watermark 
“ 1816  Whatman,”  showing  that  the  work  belongs  to  the  latter  years 
of  Blake’s  life. 


107  COMPOSITIONS  FROM  THE  WORKS  DAYS  AND  THEOGONY 
OF  HESIOD.  DESIGNED  BY  JOHN  FLAXMAN,  R.A.P.S. 
ENGRAVED  BY  WILLIAM  BLAKE 

Published  by  Longman,  Hurst,  Rees,  Orme  & Brown,  London,  Jan.  1, 
1817.  (Oblong  folio.) 

A series  of  thirty-seven  designs  in  outline,  in  a graceful  (if  rather  empty) 
neo-classical  style  based  on  ancient  vase-paintings  and  bas-reliefs.  Volumes 
containing  similar  designs  by  Flaxman,  illustrating  Homer,  TEschylus  and 
Dante,  all  engraved  by  Piroli,  had  been  previously  issued.  The  present 
series  has  the  greater  merit  of  being  engraved  by  Blake  who,  unlike  his 
predecessor,  has  lost  nothing  of  the  charm  and  grace  possessed  by  the 
original  drawings. 

The  plates  are  unsigned.  Nos.  1,  2,  12-21,  24,  28-37  bear  the  date  and 
imprint : — “Published  by  Longman, Hurst,  Rees,  Orme  and  (or,  &)  Brown, 
London,  Jan.  1,  1817”;  Nos.  3-1 1,  22,  23,  25-27  have  the  same  imprint, 
with  the  date: — November  1,  1816.  The  quotations  attached  to  the 
prints  are  from  Elton’s  “ Hesiod.” 


i (Title-page.)  Plate  1 


There,  let  me  boast  that  victor  in  the  lay 
I bore  a tripod  ear’d,  my  prize  away” 


5Jix  9t  in- 


ii  2.  Hesiod’s  “Works  and  Days.”  (Title-page) 

Hesiod  admonishing  Perses 

“ Deep  let  my  words  oh  Perses  ! graven  be 
Hear  justice,  and  renounce  the  oppressor’s  plea.” 

4|x7tV  in- 


182 


“ Bade  Hermes  last  endue  with  craft  refined.” 


107 

iii 


iv 


3.  Pandora  Gifted 

6fx7A  in- 

4.  Pandora  Attired 

“ Adored  Persuasion  and  the  Graces  young 
Her  slender  limbs  with  golden  jewels  hung.” 

6§X9§  in. 


v  5.  Pandora  shown  to  the  Gods 


7fx  9f  m. 


“ On  men  and  Gods  in  that  same  moment  seized 
The  ravishment  of  wonder  when  they  saw.” 


vi  6.  Pandora  brought  to  Earth 

“ He  bade  heaven’s  messenger  convey  thro’  air 
To  Epemetheus’  (sic)  hands.” 

5ix  6|  in. 

vii  7.  Pandora  brought  to  Epimetheus 

“ But  he  received.” 

6nx9?  ^ 

viii  8.  Pandora,  opening  the  Vase 

“ She  lifts  the  lid. — She  scatters  ills  in  air.” 

5|x8Tv  in. 

ix  9.  Golden  Age 
3^X5^  in. 

x 1 o.  Good  Daemons. 

“ Earth — wandering  daemons  they  their  charge  began, 
The  minister  of  good,  and  guards  of  Man  ; ” 

6 X I i|  in. 

xi  11.  Silver  Age 

“ Nor  would  they  serve  the  gods.” 


183 


3|x5r«  in* 


1 2.  Brazen  Age 


107 
xii 

“ They  by  each  other’s  hands  inglorious  fell, 

In  freezing  darkness  plunged,  the  house  of  hell. 

5|x  9l  in. 


xiii  13.  Modesty  and  Justice  returning  to  Heaven 


x 7i  in- 


“ Justice  and  Modesty  from  mortals  driven 
Rise  to  the  immortal  family  of  heaven.” 


xiv  14.  Iron  Age 


5fx  izf  in. 


“ For  spoil  they  wait 
And  lay  their  mutual  cities  desolate.” 


xv  1 5.  The  Evil  Race 

“ They  thrust  pale  Justice  from  their  haughty  gates.” 

6 x 8|  in. 

xvi  16.  The  Evil  Race 

“ The  god  sends  down  his  angry  plagues  from  high 
Famine  and  Pestilence;  in  heaps  they  die — ” 

4fx8|  in. 

xvii  17.  The  Good  Race 

“ Genial  Peace 

Dwells  in  their  borders,  and  their  youth  increase.” 

Si X 1 »n. 

xviii  18.  Pleiades 

“ When,  Atlas  born,  the  Pleiad  stars  arise.” 

5r«  x 9i  in- 

xix  19.  Pleiades. 

“ And  when  they  sink  below 
The  morn-illumined  west  ’tis  time  to  plough.” 

Sr,  x 9i  in- 

184 


107 

xx 


xxi 


xxii 


xxiii 


xxiv 


XXV 


xxvi 


xxvii 


37  {sic).  The  Happy  Man 

“ He  to  whose  note  the  auguries  are  given 
No  rite  transgress’d,  and  void  of  blame  to  heaven. — ” 

6 x 95  in. 


21.  Theogony.  (Title-page) 

“ They  to  Hesiod  erst 
Have  taught  their  stately  song — ” 

5rs  x 9f  in. 


22.  Hesiod  and  the  Muses 


6f  x 1 i/e  in. 


“ And  gave  unto  my  hand 
A rod  of  marvellous  growth  a laurel  bough.” 


23.  Jupiter  and  the  Muses 

“ They  the  great  spirit  of  their  father  Jove 
Delight  in  heaven — ” 

4|x  io|  in. 


24.  Night.  Love.  Erebus.  Chaos 

“Then  Love  most  beauteous  of  Immortals  rose — ” 


6|x6  in. 

25.  Venus 

“ The  wafting  waves 

First  bore  her  to  Cythera’s  heavenly  coast.” 

3i  x 7§  in- 

26.  Venus 

“ Her  Aphrodite  gods  and  mortals  name 
The  foam  born  goddess.” 

3fx8JL  in. 

27.  Venus 

“ Her  honors  these 
From  the  beginning.” 


185 


6|x8^  in. 


107  28.  Sea  Divinities 

XXV111 

“ From  Nereus  and  the  fair  haired  Doris,  nymph 
Of  Ocean’s  perfect  stream,  the  lovely  race 
Of  goddess  nereides  rose.” 

3|xi2f6  in. 

xxix  29.  Typhaon,  Echidna.  Geryon 

“ Echidna  the  untameable  of  soul 
Above  a nymph  with  beauty  blooming  cheeks.” 

4f  X 1 I in. 

xxx  30.  Astraeus  and  Aurora 

“ The  Morning  to  Astraeus  bare  the  winds 
Of  spirit  untamed,  west  south  and  north.” 

7f  x?\  in. 

xxxi  31.  Saturn  and  his  Children 

“ Did  Saturn  huge 
Devour.” 

3|x6i  in. 

xxxii  32.  Infant  Jupiter 

“ Vast  Earth 

Took  to  herself  the  mighty  babe.” 

4^X51  ^ 

xxxiii  33.  The  Brethren  of  Saturn  delivered 

“ The  brethren  of  his  father  too  he  loosed.” 

6!  ><5Te  in* 

xxxiv  34.  Gods  and  Titans 

“ Nor  longer  then  did  Jove 
Withhold  his  force.” 

7§x  8 in. 

xxxv  35.  Giants  and  Titans 

“The  war  unsated  Gyges,  Briareus 
And  Cottus  bitterest  conflict  waged  ” 

?!  x 7^  in. 


186 


l- 


Plate  32 
MRS.  Q. 

After  Huet  Yilliers,  1820.  (108) 


107 

xxxvi 


36.  Furies.  Cerberus.  Pluto.  Proserpine.  Harpies.  Death 


4§x  1 of  in. 


“ The  hollow  sounding  palaces 
Of  Pluto  strong  the  subterranean  god.” 


xxxvii  37.  Iris 


6^X5!  in- 


“ Jove  sends  Iris  down 
To  bring  the  great  oath  in  a golden  ewer.” 


108  MRS 

Drawn  by  Huet  Villiers.  Engraved  by  W.  Blake. 

London,  Published  1st.  June  182,0,  by  J.  Barrow,  Weston  Place, 
St  Pancras.  Stipple,  printed  in  colours;  nfx9  in. 

A lady,  with  auburn  curls,  in  a white  dress  bound  at  the  waist 
with  green  ribbon,  sits  on  a stone  balustrade  by  a river.  She  turns  her 
head  towards  the  spectator  and  is  seen  full-face.  On  the  far  side  of  the 
river  there  are  some  houses  and  a church.  The  view  seems  to  be  taken 
from  the  Thames  at  Eton,  with  the  College  chapel  in  the  background. 
The  sitter  is  Harriet  Quentin,  wife  of  Colonel,  afterwards  Sir  George 
Quentin,  the  Brighton  beauty  and  mistress  of  George  IV.  as  Prince 
Regent.1  Huet  Villiers  or  Villiers-Huet,  the  designer  of  the  print,  was 
the  son  of  Jean  Baptiste  Huet,  the  elder ; he  flourished  in  Paris  about 
1805,  painting  miniatures  and  landscapes,  and  afterwards  came  to  London, 
when  he  became  a favourite  of  the  court.  For  the  companion  print 
of  “Windsor  Castle,”  see  no.  133.  In  a sale  at  Christie’s,  27th  Nov. 
1901,  this  pair  of  prints  realised  £94,  10s.2 


109  WILSON  LOWRY,  F.R.S.,M.G.S.  &c.3 

Drawn  from  Life  by  J.  Linnell,  & Engraved  by  J.  Linnell  & W.  Blake. 

Published  as  the  Act  directs  Jan.  1,  1825,  by  Hurst,  Robinson  & Co., 
Cheapside,  London.  Line;  10x7!  in. 

1 For  further  particulars  see  the  “ Memoirs  of  the  Life  of  the  Celebrated  Mrs  Q by  Edward 

Eglantine,  an  8vo  pamphlet  issued  in  1822,  with  a reduced  (4A  x 3 in.)  copy  of  Blake’s  print  as  its 

frontispiece.  The  pamphlet  is  reprinted  in  Joseph  Grego’s  “Mrs  Q and  Windsor  Castle,”  1906 

(folio),  where  both  Blake’s  print  and  its  companion  are  to  be  found  (done  full-size  and  in  colours). 
* See  “ Art  Sales  of  the  Year  1902,”  where  the  editor  notes  : — “ Both  were  fine  impressions  with  wide 
margins,  and  printed  in  colours.” 

3 B.  1762,  d.  1824,  engraver. 


187 


109  Bust,  three-quarter  face,  turned  towards  r.  A man  of  middle  age,  clean 
shaven,  with  curly  hair  and  rather  coarse  features. 

Gilchrist 1 states  that  Blake’s  collaboration  in  the  engraving  took  place 
in  August-December,  1824.  The  print  is  reproduced  in  the  late  Dr 
Garnett’s  “William  Blake,”  p.  61. 

1 The  “ Life”  (ed.  1880),  vol.  i.  p.  375. 


188 


IV.— I.  PRINTS  SIGNED  BY  ANOTHER  ENGRAVER, 
BUT  BELIEVED  TO  BE,  EITHER  WHOLLY  OR 
IN  PART,  BLAKE’S  WORK.  2.  PRINTS  COM- 
MONLY ATTRIBUTED  TO  HIM,  BUT  EITHER 
REGARDED  AS  DOUBTFUL  OR  NOT  AC- 
CEPTED BY  THE  PRESENT  WRITER 


110  A NEW  SYSTEM,  OR  AN  ANALYSIS  OF  ANCIENT  MY- 
THOLOGY: BY  JACOB  BRYANT.  M.DCCLXXIV.  (-M.DCCLXXVI.) 
(3  vols.  folio) 

A number  of  prints  signed  by  James  Basire  are  contained  in  these 
volumes.  Some  of  these  are  evidently  either  wholly  or  at  least  in  part 
from  the  hand  of  Blake,  who  worked  as  his  assistant  from  1771-1778. 
Note  particularly  a Vignette  of  the  Deluge  on  p.  601  of  vol.  iii. : — the 
dove  returns  to  the  ark  (a  strange  crescent-shaped  affair),  with  an  olive 
leaf  in  its  mouth ; a vast  rainbow  overarches  the  desolate  waters ; 
a wreath  of  leaves  and  fruit  surrounds  the  design ; the  treatment  of  the 
water  is  here  especially  Blake-like  (cp.  his  rendering  of  the  sea  in  the 
print  of  “Joseph  of  Arimathea,”  engraved  only  a very  little  earlier 
(in  1773);  it  is  possible  that  the  design,  as  well  as  the  engraving, 
is  Blake’s.  Note  also  the  figure  of  a nude  woman  in  the  centre  of  sheet 
inscribed  “ Hieroglyphica  Sacra”  (vol.  ii.  pi.  vi.). 


Ill  THE  LADY’S  MAGAZINE 

(Published  by  Harrison  & Co.,  1770-1818.) 

It  is  stated  by  Gilchrist 1 that  “during  the  years  1779  and  onwards” 
Blake  was  employed  by  Harrison  to  engrave  designs  for  this  “and 
perhaps  other  serials.”  This  is  most  likely  to  be  the  case,  since  his 
friend  Stothard,  with  whom  at  this  date  he  did  much  work  in  collabora- 
tion, was  from  1780  a frequent  contributor  of  illustrations  to  “The  Lady’s 
Magazine,”  and,  although  there  are  none  bearing  Blake’s  signature, 
he  may  well  have  been  the  engraver  of  some  of  them.  A number  of  the 
prints  done  from  Stothard’s  designs  are  to  be  found  in  the  Robert 
Balmanno  collection  of  Stothard’s  works  in  the  Print  Room. 


112  MEMOIRS  OF  THOMAS  HOLLIS,  ESQ^  F.R.  and  A.S.S. 

London  Printed  MDCCLXXX.  (2  vols.  4to.) 

A number  of  the  plates  in  these  Memoirs  are  signed  by  James  Basire, 
the  engraver  with  whom  Blake  served  his  apprenticeship  (1771-1778). 
In  some  of  them,  as  Gilchrist  points  out,2  distinct  evidence  is  to  be  found 
of  Blake’s  handiwork.  The  rendering  of  a sculptured  monument,  bearing 
the  epitaph  “ D M M.  VLPIO  AVG.  LIB.  FORTVNATO  PHILETVS 

1 The  “ Life”  (ed.  1880),  vol.  i.  pp.  32  & 33. 

2 In  the  “Life”  (ed.  1880),  vol.  i.  p.  19. 

l9l 


112  PATR  ET  VLPIA  PLUSIAS  CONIVG.  B M F,”  1 may  be  especially 
noticed  for  its  Blake-like  qualities  : — note  the  winged  head  of  a Love 
(beneath  the  inscription),  with  its  shivering  flamelike  hair  and  its  eyes 
that  seem  to  open  into  another  world. 


113  AN  ACCOUNT  OF  SOME  ANCIENT  MONUMENTS  IN  WEST- 
MINSTER ABBEY.  BY  SIR  JOSEPH  AYLOFFE,  BART. 

London,  Printed  by  J.  Nichols,  Printer  to  the  Society  of  Antiquaries. 
1780.  (Folio.) 

Blake  is  probably  the  author  of  the  drawings  from  which  the  prints  in 
this  volume  are  taken ; he  is  likely,  also,  to  have  assisted  his  master, 
Basire,  in  the  work  of  engraving  them.  The  plates  (eight  in  number)  are 
all  signed: — J.  Basire  del.  et  Sc.,  and  dated,  April  23,  1780.  See 
“Westminster  Abbey,”  by  W.  R.  Lethaby,  London,  1906,  p.  371 
(Appendix) : — 

“In  the  summer  of  1 775  tapestries  which  had  covered  the  tombs  of 
the  Presbytery  were  removed,  and  the  paintings  on  these  tombs  and  the 
sedilia  were  at  once  copied  for,  and  published  by.  Sir  Joseph  Ayloffe. 
These  copies  are  now  in  the  library  of  the  Society  of  Antiquaries,  and  are 
of  such  a character  that  they  could  have  been  drawn  only  by  two  men 
then  in  England,  John  Carter  and  William  Blake  ; and  it  is  to  the  latter, 
I think,  that  we  may  assign  them.  . . . The  drawings  of  which  we  have 
spoken  are  signed: — “Basire,  1 775-”  And  the  engravings  from  these 
drawings  are  signed: — “J.  Basire  de.  et  sc.,  1780.” 


114  VETUSTA  MONUMENTA:  QUAE  AD  RERUM  BRITANNI- 
CARUM  MEMORIAM  CONSERVANDAM  SOCIETAS  ANTI- 
QUARIORUM  LONDINI  SUMPTU  SUO  EDENDA  CURAVIT 

Blake  is  likely  to  have  assisted  Basire  in  engraving  some  of  the  plates 
for  this  publication. 


115  ARCH AEOLOGIA : OR  MISCELLANEOUS  TRACTS,  RELATING 
TO  ANTIQUITY.  PUBLISHED  BY  THE  SOCIETY  OF  ANTI- 
QUARIES OF  LONDON.  (4to) 

It  is  likely,  as  Gilchrist  suggests,2  that  Blake  assisted  Basire  in  engraving 
some  of  the  plates  for  this  publication. 

1 One  of  a group  of  prints  after  sepulchral  monuments  and  other  antiquities  at  the  end  of  vol.  ii. 
(the  Appendix  to  the  Memoirs). 

2 See  the  “ Life  ” (ed.  1880),  vol.  i.  p.  19. 


192 


116  THE  GEOGRAPHICAL  MAGAZINE.  BY  WILLIAM  FREDERICK 
MARTYN,  ESQ^ 

London:  Printed  for  Harrison  and  Co.  MDCCLXXXII.  (2  vols.  4to.) 

The  two  frontispieces  to  these  volumes  (i.  Minerva  instructing  Britannia 
in  the  Use  of  the  Celestial  and  Terrestrial  Globes,  ii.  Britannia  instructing 
Asia,  Africa,  Europe  and  America,  in  the  Science  of  Geography : both 
designed  by  Stothard),  are  stated  by  Mr  A.  C.  Coxhead  in  his  work  on 
Stothard 1 to  be  engraved  by  Blake.  This,  however,  is  not  the  case. 
Both  are  engraved  by  Heath  and  bear  his  signature. 


117  SEPULCHRAL  MONUMENTS  IN  GREAT  BRITAIN  (BY 
RICHARD  GOUGH).  Vol.  I.,  Part  I.  (1786);  Vol.  I.,  Part  II.  (1796). 
(Folio) 

A number  of  the  plates  in  these  volumes  are  done  from  drawings  of  ancient 
monuments  which  were  executed  by  Blake  during  the  period  of  his 
apprenticeship  to  Basire ; he  is  probably  also  the  engraver  of  some  of 
those  bearing  his  master’s  signature.  See  “A  Father’s  Memoirs  of  His 
Child,”  by  Benj.  Heath  Malkin,  London,  1806,  pp.  xx.  & xxi.  (quoted 
on  pp.  22-23). 

See,  also,  “ Nollekens  and  his  Times,”  by  John  Thomas  Smith,  London, 
1828,  vol.  ii. : — “He  (Stothard)  spoke  in  the  handsomest  terms  of  his 
(Blake’s)  talents,  and  informed  me  that  Blake  made  a remarkable  correct 
and  fine  drawing  of  the  head  of  Queen  Philippa,  from  her  monumental 
effigy  in  Westminster  Abbey,  for  Gough’s  Sepulchral  Monuments, 
engraved  by  Basire.” 

See,  also,  Gilchrist’s  “Life”  (ed.  1880),  vol.  i.  p.  20: — “In  the 
Sepulchral  Monuments , vol.  /.,  pt.  2 2 (1796),  occurs  a capital  engraving 
as  to  drawing  and  feeling,  ‘ Portrait  of  Queen  Philippa  from  her 
Monument,’  with  the  inscription  Basire  delineavit  et  sculpsit ; for  which, 
as  in  many  other  cases,  we  may  safely  read  c W.  Blake.’  In  fact,  Stothard 
often  used  to  mention  this  drawing  as  Blake’s,  and  with  praise.  The 
engraving  is  in  Blake’s  forcible  manner  of  decisively  contrasted  light  and 
shade,  but  simple  and  monotonous  manipulation.  It  is  to  a large  scale,  and 
gives  the  head  and  shoulders  merely.  Another  plate,  with  a perspective 
view  of  the  whole  monument  and  a separate  one  of  the  effigy,  accompanies 
it.  In  Part  I.  (1786),  are  similar  ‘Portraits’  of  Queen  Philippa,  of 
Edward  III.  & c.” 

1 “ Thomas  Stothard,  R.  A.”  by  A.  C.  Coxhead  (1906),  pp.  168  & 169. 

2 An  error  for  pt.  1,  in  which  all  Blake’s  prints  are  contained. 

193 


N 


118  THE  INDUSTRIOUS  COTTAGER 


(G.  Morland.  W.  Blake)  178 7 (reprint  1803).  Stipple;  oval,  17x14  in, 
(approx.) 

A pair  of  prints  corresponding  in  title  and  (approximately)  in  date  (but 
different  in  treatment  and  dimensions),  to  this  and  the  following  Nos., 
has  been  already  described  above  (see  Nos.  66  and  67).  The  particulars 
here  given  are  derived  from  an  entry  in  “ Art  Sales  of  the  Year  1902,” 
in  reference  to  Lot  184  sold  at  Christie’s,  27th  Nov.  1901  : — “The  Idle 
Laundress,”  “ The  Industrious  Cottager  ” ; both  said  to  be  engraved  by 
Blake  after  G.  Morland.  The  following  note  is  appended  by  the  Editor : — 
“ Both  printed  in  bistre  ; stipple.  ‘ The  Industrious  Cottager  ’ was  framed 
to  an  oval,  about  17x14  in.  Published  1787  (reprinted  1803),  with 
inscription  in  English  and  French.  A girl  is  seated  inside  a cottage  door 
mending  some  garment,  a young  man  leans  on  the  back  of  her  high  chair, 
holding  a basin  in  the  left  hand  and  a spoon  in  the  right,  a dog  and  a 
basket  are  on  the  floor.  Outside  the  cottage  door  are  seen  various  kitchen 
utensils.  ‘The  Idle  Laundress’  was  engraved  in  1788.  The  pair  of  prints 
fetched  .£6.”  Neither  of  the  prints  are  known  to  the  present  writer;  and 
it  seems  to  him  at  least  possible  that  their  ascription  to  Blake  is  due  to 
a confusion  with  the  pair  already  described. 


119  THE  IDLE  LAUNDRESS 

(G.  Morland.  W.  Blake).  1788.  Stipple;  oval.  c.  17 x 14  in. 
See  the  preceding  number. 


120  STOTHARI)  AND  FRIENDS  PRISONERS  DURING  A BOATING 
EXCURSION1 

A print  of  this  subject  (after  Stothard)  is  included  in  the  list  of  Blake’s 
engraved  works,  which  is  appended  to  Gilchrist’s  “ Life.”  2 It  appears,  how- 
ever, that  the  etching  in  question  is  the  work  of  Stothard  himself.  Mrs 
Bray  in  her  “ Life  of  Stothard,” 3 has  the  following  note  upon  it : — “ In 
the  British  Museum  amongst  the  folios  containing  Stothard’s  works  in  the 
Print  Room,  an  etching  . . . may  be  seen,  called  a Boating  Excursion. 
The  etching  is  there  stated  10  be  by  Blake;  but  Alfred  Stothard  says  it 
was  by  his  father.  The  drawing  was  sold  at  Christie’s  sale,  and  is  now  in 
the  possession  of  Mr  William  Sharpe,4  of  Highbury.”  The  etching  is 

1 For  an  account  of  the  incident  here  depicted,  see  Mrs  Bray’s  “ Life  of  Stothard.” 

2 The  “ Life”  (ed.  1880),  vol.  ii.  p.  282. 

3 “ Life  of  Thomas  Stothard,  R.A.  By  Mrs  Bray,  London,  1851,  pp.  20  & 21. 

4 Miss  L.  Sharpe,  the  writer  is  informed,  is  the  present  owner. 

194 


120  reproduced  on  p.  20  of  the  “Life  of  Stothard,”  lettered: — “Stothard 
and  his  friends  prisoners  during  a boating  excursion  at  Upnor  Castle  on 
the  Medway,  from  an  etching  by  himself”;  three  figures  are  seen  in 
front  of  an  improvised  tent,  rigged  up  with  sails  suspended  over  a boat 
hook  and  oars  (1.)  ; to  r.,  the  Medway,  with  the  boat. 


121  ELEMENTARY  DIALOGUES,  FOR  THE  IMPROVEMENT  OF 
YOUTH,  BY  J.  H.  CAMPE.  TRANSLATED  BY  MR  SEYMOUR. 
ILLUSTRATED  WITH  SIXTEEN  COPPER  PLATES 
London:  Printed  for  Hookhamand  Carpenter,  Bond-Street ; 1798.  (i2mo.) 
The  plates  in  this  volume  are  sometimes  ascribed  to  Blake ; they  do  not 
appear  to  the  writer  to  be  in  his  manner ; they  are  in  any  case  poorly 
engraved  and  of  little  consequence. 


122  THE  ODYSSEY  OF  HOMER  ENGRAVED  BY  THOMAS  PIROLI 
FROM  THE  COMPOSITIONS  OF  JOHN  FLAXMAN  SCULPTOR 
Rome  1793.  (Oblong  folio) 

The  following  statement  is  made  by  Gilchrist  in  his  “ Life  ” in  reference 
to  this  work: — “ Piroli,  a Roman  artist,  had  been  engaged  to  engrave 
the  above-mentioned  graceful  compositions  from  the  poets.  His  first  set 
of  plates,— those  to  the  Odyssey , — were  lost  in  the  voyage  to  England, 
and  Blake  was  employed  to  make  engravings  in  their  stead,  although 
Piroli’s  name  still  remained  on  the  general  title-page  (dated  1793); 
probably  as  being  likelier  credentials  with  the  public.”  The  present 
writer  is  unaware  of  the  existence  of  any  evidence  in  support  of  this 
assertion.  Blake  did  engrave  three  plates  for  the  second  edition  of  the 
Iliad  (1805),  as  well  as  the  whole  series  of  designs  for  the  Hesiod  ( see 
Nos.  100  and  107  above);  and  it  is  possible  that  some  confusion  may 
have  arisen  on  this  account. 


123  GYMNASTICS  FOR  YOUTH,  FREELY  TRANSLATED  FROM  THE 
GERMAN  OF  C.  G.  SALZMANN.  ILLUSTRATED  WITH  COPPER 
PLATES 

London:  Printed  for  J.  Johnson,  St  Paul’s  Church-Yard,  1800.  (8vo.) 

The  plates  in  this  volume  (ten  in  number,  including  a folding  frontispiece) 
are  commonly  ascribed  to  Blake ; but,  to  the  present  writer,  they  do  not 
appear  to  be  in  his  manner ; they  are  in  any  case  poorly  engraved  and 
of  little  consequence.  Their  attribution  to  Blake  is,  no  doubt,  due  to  the 


123  fact  that  he  did  engrave  a certain  number  of  the  plates  for  the  translation 
of  the  same  author’s  “ Elements  of  Morality,”  published  also  by  Johnson 
(see  No.  77  above). 


124  FABLES  ANCIENT  AND  MODERN.  BY  EDWARD  BALDWIN, 
ESCL1  ADORNED  WITH  THIRTY-SIX  COPPER-PLATES 

London:  Printed  for  Thomas  Hodgkins,  at  the  Juvenile  Library.  (1805.) 
(2  vols.  i2mo.) 

The  illustrations  to  these  Fables  are  often  stated  to  be  engraved  by 
Blake,  but  the  present  writer  is  of  the  opinion  that  this  is  not  the  case. 


125  (PRINTS  ENGRAVED  BY  THOMAS  BUTTS  JUNIOR,  UNDER 
BLAKE’S  GUIDANCE) 

(c.  1806.) 

A little  collection  of  these  prints  (of  small  size)  was  sold  at  Sotheby’s  a 
few  years  ago  from  the  Butts  collection.  They  are  the  work  of  young 
Butts,  the  son  of  Blake’s  patron,  who  in  1805  2 became  Blake’s  pupil  and 
was  instructed  by  him  in  the  art  of  engraving.  They  are  mostly  in  the 
classical  style,  some  of  them  being  copies  from  ancient  designs.  They  are 
described,  with  several  reproductions,  in  an  article  in  The  Connoisseur 
of  October,  1907,  written  by  Miss  Ada  Briggs,  by  whom  one  or  two  of 
them  are  wrongly  attributed  to  Blake’s  own  hand,  although  their  childish 
character  is  to  some  extent  mitigated  by  his  close  supervision  and  perhaps 
by  occasional  touches  from  his  hand. 


126  THE  PANTHEON  OR  ANCIENT  HISTORY  OF  THE  GODS  OF 
GREECE  AND  ROME.  BY  EDWARD  BALDWIN,  ESQ^,3  WITH 
ENGRAVINGS  OF  THE  PRINCIPAL  GODS,  CHIEFLY  TAKEN 
FROM  THE  REMAINS  OF  ANCIENT  STATUARY 

London:  Printed  for  Thomas  Hodgkins,  at  the  Juvenile  Library  . . . 1806. 
Contains  twelve  unsigned  plates  of  inferior  merit  commonly  ascribed  to 
Blake  ; the  present  writer  can  see  no  reason  for  accepting  them  as  his. 

1 Pseudon. — William  Godwin. 

2 On  Christmas  day.  See  the  account  between  Blake  and  Butts,  printed  in  Gilchrist’s  “ Life  ” (ed.  1880), 
vol.  ii.  p.  278  : — “ Dec.  25,  1805.  On  account  of  teaching  your  son,  at  25  Guineas  per  annum,  to  com- 
mence  on  this  day  . . . ,£26.  5.  o.” 

3 Pseudon. — William  Godwin. 


196 


126 

i Jupiter.  To  face  the  title 

ii  Juno.  P.  51 

iii  Minerva.  P.  52 

iv  Mars.  P.  54 

v Apollo.  P.  55 

vi  Diana.  P.  62 

vii  Venus.  P.  65 

viii  Mercury.  P.  68 

ix  Neptune.  P.  73 

x Vulcan.  P.  74 

xi  Vesta.  P.  78 

xii  Ceres.  P.  81 

127  THE  HISTORY  OF  TELEMACHUS,  THE  SON  OF  ULYSSES. 
ABRIDGED  FROM  THE  FRENCH  OF  FENELON.  WITH  FOUR 
COLOURED  PLATES.  Price  One  Shilling 

Published  by  Tabart  & Co.  at  the  Juvenile  and  School  Library,  No. 
157,  New  Bond-Street.  1807. 

The  four  plates,  coloured  by  hand,  are  attributed  to  Blake.  Each  of  them 
is  imprinted,  “London,  Pub.  Dec.  1805  by  Tabart  & Co.” 

i Telemachus  in  the  Island  of  Calypso.  (Frontispiece) 

2fe  X 3f  in- 

Young  Telemachus,  with  the  Aged  Mentor,  approach  Calypso,  who  is 
attended  by  two  women.  The  wrecked  ship  is  in  a bay  to  1. 

ii  Telemachus  strangling  the  Lion 
21^3  fcin. 

Telemachus  strangles  the  lion,  which  has  sprung  upon  him,  with  his 
arms.  There  are  rocks  and  palm  trees  in  the  landscape;  also  some  sheep 
and  goats,  with  two  shepherds  in  the  background  to  r. 

iii  Telemachus  accosting  his  Father 
2|x  3f  in. 

Telemachus  and  Mentor  meet  Ulysses,  who  is  a tall  figure  in  a red 
cloak,  with  a golden  helmet  and  breastplate.  Three  sailors  (1.)  haul 
in  the  ship. 

iv  Minerva  discovering  herself 
2if  X3j|  in. 

Telemachus  bends  the  knee  before  Minerva,  who  stands  above  him  to  1., 

197 


127  with  her  left  arm  stretched  out.  She  wears  a golden  helmet  and  breast- 
iv  plate,  and  holds  a staff  in  her  right  hand. 

An  example  of  this  little  book  may  be  seen  in  the  Library  of  the  British 
Museum;  the  catalogue  notes  that  the  plates  are  attributed  to  Blake; 
but  the  present  writer  can  see  no  reason  for  accepting  them  as  his. 


128  TALES  FROM  SHAKESPEARE  DESIGNED  FOR  THE  USE  OF 
YOUNG  PERSONS  BY  CHARLES  LAMB.  EMBELLISHED  WITH 
COPPER-PLATES.  In  two  volumes.  Printed  for  Thomas  Hodgkins,  at 
the  Juvenile  Library.  1807 

The  twenty  illustrations  of  the  Tales,  designed  by  William  Mulready, 
are  commonly  stated  to  have  been  engraved  by  Blake.  There  is,  as  far  as 
the  writer  is  aware,  no  kind  of  evidence  for  this  assumption,  and,  with  the 
possible  exception  of  the  frontispiece  1 (which  has  a certain  suggestion, 
but  only,  he  thinks,  an  accidental  one,  of  Blake’s  handling),  the  prints  do 
not,  in  his  opinion,  resemble  his  work.  It  must  also  be  remembered  that 
Blake  had  by  this  time  won  for  himself  a considerable  reputation  as 
an  engraver,  and  it  is  unlikely  that  so  considerable  a series  of  engravings 
by  his  hand  would  have  been  permitted  to  appear  unsigned. 

The  “Etchings.  Subjects  from  Shakespeare  (sold  at  T.  H.  Burke’s  Sale, 
Christie’s,  June  21st,  1852)”  which  appear  in  the  list  of  Blake’s 
engravings  at  the  end  of  Gilchrist’s  “ Life,” 2 are  doubtless  to  be 
identified  with  the  above. 

129  THE  EAGLE’S  MASQUE.  BY  TOM  TIT  3 

Printed  for  J.  Mawman,  Poultry;  by  G.  Woodfall.  Paternoster-Row. 
1808.  (8vo ; issued  in  yellow  paper  wrappers.) 

Contains  a frontispiece  and  five  other  plates,  sometimes  stated  to  be 
engraved  by  Blake ; but,  in  the  present  writer’s  opinion,  not  his  work. 


130  MORAL  TALES,  EASTERN  TALES,  &c.,  BY  DR  JOHNSON. 
GOLDSMITH,  See.  1809.  (4  vols.  i2mo) 

Several  of  the  plates  in  these  volumes  are  commonly  ascribed  to  Blake. 
It  is,  however,  some  considerable  time  since  the  present  writer  has  had 
an  opportunity  of  examining  them,  and  he  is  at  this  time  unable  to  state 
whether  or  no  this  is  the  case. 

1 The  subject  is  “ Prospero  and  Miranda”;  they  stand  together  upon  a rock  at  the  edge  of  a 
tempestuous  sea. 

2 Ed.  1880,  vol.  ii.  p.  280. 

3 Pseudon. — William  Mulready. 


198 


131  NEW  THEATRICAL  CHARACTERS,  etc. 

(A  collection  of  theatrical  prints,  designed  by  W.  West  and  engraved 
by  various  hands,1  c.  1812-1824.) 

The  monogram  W.B.  is  attached  by  their  engraver  to  several  of  these 
prints.  They  are  in  consequence  (erroneously,  in  the  writer’s  opinion) 
sometimes  ascribed  to  Blake.  A recent  contributor  to  Notes  and  Queries 
even  takes  it  for  granted  they  are  his.  The  form  of  the  monogram 
is  one  never  used  by  Blake,  either  for  his  engravings  or  drawings : 
and  the  prints  themselves  have  no  trace  of  his  manner.  It  may  be 
remarked  that  there  were  other  engravers  ( e.g . W.  Bromley)  with 
the  same  initials  at  work  at  the  same  time. 

One  or  more  of  the  same  group  of  prints  are  actually  signed  with 
the  name  Blake  (without  initial),  a coincidence  which,  were  it  not  for  the 
full  signature  E.  Blake  appearing  upon  other  prints  by  the  same  hand, 
might  well  have  been  an  additional  source  of  confusion  to  collectors. 


132  A SERIES  OF  PRINTS  TAKEN  FROM  THE  OLD  TESTAMENT, 
DESIGNED  TO  ILLUSTRATE  MRS  TRIMMER’S  SCRIPTURE 
LESSONS.2  1797  (reissued  1817).  (i6mo) 

The  prints  (sixty-four  in  number)  are  frequently  stated  to  be  engraved  by 
Blake ; but  the  present  writer  is  of  opinion  that  they  are  not  his  work ; 
the  same  applies  to  the  numerous  other  little  books  of  a similar  character 
by  Mrs  Trimmer. 


133  WINDSOR  CASTLE  3 

Drawn  by  J.  B.  Engraved  by  G.  Maile. 

London,  Published  1 June  1821  by  j.  Barrow,  Weston  Place,  St 
Pancras.  Stipple,  printed  in  colours;  ii-^.  x 9-^  in. 

A young  lady,  bareheaded,  with  auburn  curls,  in  a white  dress, 
with  a green  ribbon  round  the  waist,  seated,  in  front  of  a balustrade, 
playing  on  a spinet,  turned  towards  r.,  the  head  nearly  full  face  towards 
the  spectator.  Windsor  Castle  and  the  river,  in  background  to  1. 

This  print  is  the  companion  of  the  “ Mrs  Q- ” engraved  by  Blake  in 

1 A large  collection  (in  seven  or  eight  volumes)  of  these  and  similar  theatrical  prints  may  be  found  in 
the  Print  Room. 

2 The  companion  volume,  entitled: — “Scripture  Lessons,  designed  to  accompany  a Series  of  Prints 
from  the  Old  Testament.”  By  Mrs  Trimmer.  London. 

3 A portrait  of  Elizabeth  Henrietta  (Conyngham),  Marchioness  of  Huntly. 

199 


133  the  preceding  year  (see  No.  1 1 8).  It  is  commonly  supposed  to  be 
mainly  Blake’s  work,  with  only  the  finishing  touches  added  by  Maile ; 
but  beyond  the  fact  of  its  close  resemblance,  both  in  treatment  and 
execution,  to  Blake’s  print,  I know  of  no  evidence  that  this  is  the  case. 
It  may  anyhow  be  assumed  that  the  latter  was  taken  by  Maile  as 
his  model. 


134  (THE  GOTHIC  FIEND) 

(Without  title,  signature  or  date : date  uncertain.) 

Line.  8§-  x 4ff  in. 

The  fiend  is  a foolish  monster,  and  conventionally  designed  after  a 
German  formula.  He  has  a huge  mouth,  with  long  rakelike  teeth  and  a 
multitude  of  thin  flamelike  tongues.  His  head  is  crowned  with  a pyramid 
of  seven  horned  demon  heads,  and  there  are  demon  faces  upon  his 
shoulders  and  loins.  He  has  a scaly  body  and  bird’s  claws  for  feet.  In 
either  hand  he  holds  a fork  with  a pair  of  hooked  prongs.  Four  lesser 
fiends  of  a similar  but  simpler  pattern,  also  armed  with  forks,  accompany 
him,  one  kneeling  and  another  standing  on  each  side. 

The  only  example  of  the  print  known  to  the  writer  is  in  an  album  of 
miscellaneous  Blake  items,  once,  he  believes,  the  property  of  Mr  Muir,  the 
author  of  the  well-known  facsimiles  of  the  Prophetical  Books,  etc.,  and 
now  in  the  collection  of  Mr  B.  B.  Macgeorge  of  Glasgow.  It  is  marked  : — 
“ It  is  the  Gothic  fiend  of  our  legends — the  true  devil — all  else  are 
apocryphal.”  The  engraving  is  in  an  empty  mechanical  style,  wholly 
different  from  that  of  any  of  Blake’s  authentic  productions  ; and,  beyond 
the  fact  of  its  presence  in  the  above  volume,  there  is  nothing  to  associate 
it  with  his  hand.1 


ADDENDA 

135  THE  POETICAL  MAGAZINE 

Blake  is  stated  by  J.  T.  Smith,  in  his  “ Nollekens  and  his  Times,”  to 
have  engraved  plates  after  Stothard  for  this  periodical.  (See  Symons’s 
“William  Blake,”  p.  372  n.). 

1 Since  the  printing  of  the  above  entry,  the  writer  learns  from  his  friend,  Mr  Keynes,  that  “The 
Gothic  Fiend”  is  to  be  found  in  vol.  2 of  Dibdin’s  “ Literary  Reminiscences  ” (1836),  engraved  by 
Audinet  from  a MS.  in  the  Bodleian,  and  has  no  connection  whatever  with  Blake. 


200 


136  JAMES  UPTON,  PASTOR  OF  THE  BAPTIST  CHURCH  MEET- 
ING IN  CHURCH  STREET,  BLACKFRIARS  ROAD 

Painted  and  engraved  by  Jn0.  Linnell. 

London,  Published  June  Ist  1819,  by1 . Line;  10^x7!  in. 

Half  length  to  front,  with  head  | to  r. ; a smooth  face;  r.  hand  uplifted 
with  forefinger  erect  in  the  attitude  of  a preacher,  1.  resting  upon 
a book  on  a table  behind  which  he  stands. 

Engraved  by  Linnell,  with  Blake’s  assistance,  as  is  proved  from  the 
following  extract  from  the  diary  of  the  former : “ At  Rathbone  Place, 
1818  . . . here  I first  became  acquainted  with  William  Blake.  . . .We 
soon  became  intimate,  and  I employed  him  to  help  me  with  an  engraving 
of  my  portrait  of  Mr  Upton,  a Baptist  preacher,  which  he  was  glad  to 
do,  having  scarcely  enough  employment  to  live  by  at  the  prices  he  could 
obtain.” 

1 The  publisher’s  name  is  omitted  in  the  example  of  the  print  (an  open-letter  proof  in  the  Linnell 
collection)  from  which  the  particulars  given  are  derived. 


NOTE 

Titles  not  printed  upon  the  originals  appear  throughout  the  Catalogue 
in  brackets. 


201 


V.— LIST  OF  BOOKS  PRODUCED  BY  BLAKE  BY 
HIS  SPECIAL  PROCESS  OF  ILLUMINATED 


PRINTING 


LIST  OF  BOOKS  IN  ILLUMINATED  PRINTING 


Note. — Books  only  (or  ‘writings  consisting  of  more  than  one  leaf),  engraved  and  illuminated 
in  the  special  manner  described  on  pp.  29-33*  are  included  in  this  list.  Full  bibliographical 
particulars  of  these  works  may  be  found  in  Mr  Sampson's  edition  of  the  Poems,  under  the 
references  given  below.  Single  leaves,  produced  by  the  same  process,  whether  with  or  without 
text,  are  catalogued  as  separate  prints  in  Section  I. 

THERE  IS  NO  NATURAL  RELIGION.  (First  and  Second  Series.) 
(?  1788  1) 

SONGS  OF  INNOCENCE.  1789  2 
THE  BOOK  OF  THEL.  17893 

THE  MARRIAGE  OF  HEAVEN  AND  HELL  (?  17904) 

VISIONS  OF  THE  DAUGHTERS  OF  ALBION.  1793  6 

AMERICA.  1793  6 

SONGS  OF  EXPERIENCE.  1794 7 

EUROPE.  1 794 8 

THE  BOOK  OF  URIZEN.  1794  9 

THE  BOOK  OF  LOS.  1795  10 

THE  SONG  OF  LOS.  1795  11 

1 For  bibliographical  particulars,  see  “ Blake’s  Poetical  Works,”  edited  by  John  Sampson  (1905),  pp. 
342-3.  The  present  writer  is  disposed  to  believe  that  this  pair  of  diminutive  volumes  are  the  first-fruits  of 
Blake’s  invention  of  Illuminated  Printing  ; in  which  case  their  date  is  fixed  by  the  colophon  to  “ The 
Ghost  of  Abel  ” (1822),  his  latest  production  in  the  same  method,  where  it  appears  that  “ W.  Blake’s 
Original  Stereotype  was  1788.”  This  view  is  supported  both  by  the  somewhat  tentative  and  experi- 
mental aspect  of  the  books  themselves,  and  by  the  fact  that  no  other  of  the  existing  works  of  this 
description  can  be  dated  earlier  than  the  following  year,  to  which  both  “Songs  of  Innocence’’  and 
“The  Book  of  Thel  ” belong.  It  may  further  be  suggested  that  the  dedication  of  “ The  Ghost  of 
Abel”  “To  Lord  Byron  in  the  Wilderness”  may  be  intended  to  re-echo  the  words  inscribed  upon 
the  title-page  of  one  of  these  two  little  books,  “ The  Voice  of  one  crying  in  the  Wilderness.” 

2 See  ibid.  pp.  63-83. 

3 Ibid.  p.  332. 

4 Ibid.  pp.  332-3.  The  book  is  without  date,  but  was  probably  issued  in  1790. 

5 Ibid.  p.  334. 

6 Ibid.  pp.  334-5. 

''Ibid.  pp.  65-85.  This  book  appears  in  the  list  of  “ several  Works  now  published  and  on  Sale  ” 
announced  in  Blake’s  prospectus  of  10th  October  1793,  a fact  which  seems  to  indicate  that  it  was 
actually  finished  the  year  before  that  (1794)  inscribed  upon  the  title-page. 

8 Ibid.  p.  335. 

9 Ibid.  pp.  335-6. 

10  Ibid.  pp.  336-7.  The  text  of  this  book  is  etched  in  the  normal  way,  and  not  by  the  special  process 
employed  in  the  other  books. 

11  Ibid.  p.  336. 


205 


THE  BOOK  OF  AHANIA.  1795  1 
MILTON.  1 804 2 
JERUSALEM  1804  3 
THE  GHOST  OF  ABEL.  1822  4 
OOTHOON.  (Date  unknown  5) 

1 See  “ Blake’s  Poetical  Works,”  p.  337.  The  text  of  this  book  is  etched  in  the  normal  way,  and 
not  by  the  special  process  employed  in  the  other  books. 

2 Ibid.  pp.  339-40.  See,  also,  Blake’s  “Milton,”  edited  by  E.  R.  D.  Maclagan  and  A.  G.  B.  Russell 
(A.  H.  Bullen,  1907),  pp.  xii.-xvi. 

3 Ibid.  pp.  340-1.  See,  also,  Blake’s  “Jerusalem,”  edited  by  E.  R.  D Maclagan  and  A.  G.  B.  Russell 
(A.  H.  Bullen,  1904),  p.  121. 

4 Ibid.  p.  341-2.  Consists  of  only  two  leaves.  No  coloured  example  is  known  to  the  writer. 

5 Ibid.  p.  342.  No  example  of  this  book  is  known  to  exist.  It  occurs  in  a list  of  works  by  Blake  offered 
for  sale  by  his  widow  to  a Mr  Ferguson  (see  Gilchrist’s  “Life,”  ed.  1880,  vol.  ii.  p.  284),  where  it  is 
thus  described  : — Outhoun  (so  spelt  in  the  “ Life  ” ; whether  through  an  error  on  the  part  of  Mrs  Blake 
or  of  the  transcriber,  it  is  impossible  to  say),  12  Plates,  6 inches,  more  or  less.  Price  £z.  is.  o. 


206 


APPENDIX 


APPENDIX 


1 Memoranda  of  Blake’s  Technical  Methods,  from  the  “Rossetti  MS.” 

2 Blake’s  Prospectus  of  ioth  October,  1793. 

3 Fuseli’s  Preface  to  Blake’s  Edition  of  Blair’s  “Grave/’  1808. 

4 A Leaf  of  Prospectus  of  Blake’s  “ Chaucer,”  15th  May,  1809. 

5 A similar  Leaf,  c.  1810. 

6 The  Editor’s  Preface  to  “ The  Prologue  and  Characters  of  Chaucer’s 
Pilgrims,  intended  to  illustrate  a Particular  Design  of  Mr  William 
Blake,”  1812. 

7 A letter  from  Blake  to  Dawson  Turner,  9th  June  1818. 

8 Extract  from  a letter  from  Blake  to  George  Cumberland,  12th  April 
1827. 


1.— MEMORANDA  FROM  THE  “ROSSETTI  MS  ” (p.  10) 

Memorandum 

To  engrave  on  pewter : Let  there  be  first  a drawing  made  correctly  with 
black-lead  pencil ; let  nothing  be  to  seek.  Then  rub  it  off  on  the  plate, 
covered  with  white  wax ; or  perhaps  pass  it  through  press.  This  will 
produce  certain  and  determined  forms  on  the  plate,  and  time  will  not  be 
wasted  in  seeking  them  afterwards. 

Memorandum 

To  wood-cut  on  pewter:  Lay  a ground  on  the  plate,  and  smoke  it  as  for 
etching.  Then  trace  your  outlines,  and,  beginning  with  the  spots  of  light 
on  each  object,  with  an  oval-pointed  needle,  scrape  off  the  ground,  as  a 
direction  for  your  graver.  Then  proceed  to  graving,  with  the  ground  on 
the  plate ; being  as  careful  as  possible  not  to  hurt  the  ground,  because  it, 
being  black,  will  show  perfectly  what  is  wanted. 

209 


o 


Memorandum 


To  wood-cut  on  copper : Lay  a ground  as  for  etching ; trace,  See.,  and, 
instead  of  etching  the  blacks,  etch  the  whites,  and  bite  it  in. 

Note. — The  above  memoranda  of  three  of  Blake’s  peculiar  methods  of 
engraving  occur  in  his  MS.  note-book,  called  the  “Rossetti  MS,”  formerly 
in  the  possession  of  I).  G.  Rossetti  and  now  the  property  of  Mr  W.  A. 
White  of  Brooklyn,  New  York.  They  are  to  be  found  on  p.  10  of  the 
MS.,  underneath  the  entries : — 

Note. — Tuesday  [any  20,  1807,  between  Two  & seven  in  the  Evening 
Despair. 

Note. — I say  I shan’t  live  five  years.  And  if  I live  one  it  will  be  a Wonder. 
June  1793. 


2.— BLAKE’S  PROSPECTUS  OF  10th  OCTOBER  1793 

October  10,  1793 

To  the  Public 

The  Labours  of  the  Artist,  the  Poet,  the  Musician,  have  been  proverbi- 
ally attended  by  poverty  and  obscurity ; this  was  never  the  fault  of  the 
Public,  but  was  owing  to  a neglect  of  means  to  propagate  such  works  as 
have  wholly  absorbed  the  Man  of  Genius.  Even  Milton  and  Shakespeare 
could  not  publish  their  own  works. 

This  difficulty  has  been  obviated  by  the  Author  of  the  following 
productions  now  presented  to  the  Public;  who  has  invented  a method  of 
Printing  both  Letter-press  and  Engraving  in  a style  more  ornamental, 
uniform,  and  grand,  than  any  before  discovered,  while  it  produces  works 
at  less  than  one-fourth  of  the  expense. 

If  a method  of  Printing  which  combines  the  Painter  and  the  Poet  is  a 
phenomenon  worthy  of  public  attention,  provided  that  it  exceeds  in 
elegance  all  former  methods,  the  Author  is  sure  of  his  reward. 

Mr  Blake’s  power  of  invention  very  early  engaged  the  attention  of  many 
persons  of  eminence  and  fortune ; by  whose  means  he  has  been  regularly 
enabled  to  bring  before  the  Public  works  (he  is  not  afraid  to  say)  of  equal 
magnitude  and  consequence  with  the  productions  of  any  age  or  country: 
among  which  are  two  highly  finished  engravings  (and  two  more  are  nearly 
ready)  which  will  commence  a Series  of  subjects  from  the  Bible,  and 
another  from  the  History  of  England. 

The  following  are  the  Subjects  of  several  Works  now  published  and  on 
Sale  at  Mr  Blake’s,  No.  13  Hercules  Buildings,  Lambeth. 


210 


1 Job,  a Historical  Engraving.  Size  i ft.  7^  in.  by  1 ft.  2 in.:  price  12s. 

2 Edward  and  Elinor,  a Historical  Engraving.  Size  1 ft.  61  in.  by  1 ft.  : 
price  1 os.  6d. 

3 America,  a Prophecy,  in  Illuminated  Printing.  Folio  with  18  designs, 
price  10s.  6d. 

4 Visions  of  the  Daughters  of  Albion,  in  Illuminated  Printing.  Folio, 
with  8 designs,  price  7s.  6d. 

5 The  Book  of  Thel,  a Poem  in  Illuminated  Printing.  Quarto,  with  6 
designs,  price  3s. 

6 The  Marriage  of  Heaven  and  Hell,  in  Illuminated  Printing.  Quarto, 
with  14  designs,  price  7s.  6d. 

7 Songs  of  Innocence,  in  Illuminated  Printing.  Octavo,  with  25  designs, 
price  5s. 

8 Songs  of  Experience,  in  Illuminated  Printing.  Octavo,  with  25  designs, 
price  5s. 

9 The  History  of  England,  a small  book  of  Engravings.  Price  3s. 
to  The  Gates  of  Paradise,  a small  book  of  Engravings.  Price  3s. 

The  Illuminated  Books  are  Printed  in  Colours,  and  on  the  most  beautiful 
wove  paper  that  could  be  procured. 

No  subscriptions  for  the  numerous  great  works  now  in  hand  are  asked, 
for  none  are  wanted  ; but  the  Author  will  produce  his  works,  and  offer 
them  to  sale  at  a fair  price. 


3. — FUSELI’S  PREFACE  TO  BLAKE’S  EDITION  OF  BLAIR’S 

GRAVE,  1808 

The  moral  series  here  submitted  to  the  Public,  from  its  object  and  method 
of  execution,  has  a double  claim  on  general  attention. 

In  an  age  of  equal  refinement  and  corruption  of  manners,  when  systems 
of  education  and  sedition  go  hand  in  hand;  when  religion  itself  com- 
pounds with  fashion  ; when  in  the  pursuit  of  present  enjoyment,  all 
consideration  of  futurity  vanishes,  and  the  real  object  of  life  is  lost — 
in  such  an  age,  every  exertion  confers  a benefit  on  society  which  tends 
to  impress  man  with  his  destiny,  to  hold  the  mirror  up  to  life,  less  indeed 
to  discriminate  its  characters,  than  those  situations  which  shew  what  all 
are  born  for,  what  all  ought  to  act  for,  and  what  all  must  inevitably 
come  to. 

The  importance  of  this  object  has  been  so  well  understood  at  every 
period  of  time,  from  the  earliest  and  most  innocent,  to  the  latest  and  most 
depraved,  that  reason  and  fancy  have  exhausted  their  stores  of  argument 


21 1 


and  imagery,  to  impress  it  on  the  mind:  animate  and  inanimate  nature, 
the  seasons,  the  forest  and  the  field,  the  bee  and  ant,  the  larva,  chrysalis 
and  moth,  have  lent  their  real  or  supposed  analogies  with  the  origin, 
pursuits,  and  end,  of  the  human  race,  so  often  to  emblematic  purposes, 
that  instruction  is  become  stale,  and  attention  callous.  The  serpent  with 
its  tail  in  its  mouth,  from  a type  of  eternity,  is  become  an  infant’s  bauble ; 
even  the  noble  idea  of  Hercules  pausing  between  virtue  and  vice,  or  the 
varied  imagery  of  Death  leading  his  patients  to  the  grave,  owe  their 
effect  upon  us  more  to  technic  excellence  than  allegoric  utility. 

Aware  of  this,  but  conscious  that  affectation  of  originality  and  trite 
repetition  would  equally  impede  his  success,  the  author  of  the  moral 
series  before  us,  has  endeavoured  to  wake  sensibility  by  touching  our 
sympathies  with  nearer,  less  ambiguous,  and  less  ludicrous  imagery  than 
what  mythology,  Gothic  superstition,  or  symbols  as  far-fetched  as 
inadequate,  could  supply.  His  invention  has  been  chiefly  employed  to 
spread  a familiar  and  domestic  atmosphere  round  the  most  important  of 
all  subjects;  to  connect  the  visible  and  the  invisible  world,  without 
provoking  probability,  and  to  lead  the  eye  from  the  milder  light  of  time 
to  the  radiations  of  eternity. 

Such  is  the  plan  and  the  moral  part  of  the  author’s  intention ; the  technic 
part,  and  the  execution  of  the  artist,  though  to  be  examined  by  other 
principles,  and  addressed  to  a narrower  circle,  equally  claim  approbation, 
sometimes  excite  our  wonder,  and  not  seldom  our  fears,  when  we  see 
him  play  on  the  very  verge  of  legitimate  invention ; but  wildness  so 
picturesque  in  itself,  so  often  redeemed  by  taste,  simplicity,  and  elegance, 
what  child  of  fancy,  what  artist  would  wish  to  discharge?  The  groups  and 
single  figures  on  their  own  basis,  abstracted  from  the  general  composition, 
and  considered  without  attention  to  the  plan,  frequently  exhibit  those 
genuine  and  unaffected  attitudes,  those  simple  graces  which  nature  and 
the  heart  alone  can  dictate,  and  only  an  eye  inspired  by  both,  discover. 
Every  class  of  artists,  in  every  stage  of  their  progress  or  attainments, 
from  the  student  to  the  finished  master,  and  from  the  contriver  of 
ornament,  to  the  painter  of  history,  will  find  here  materials  of  art  and 
hints  of  improvement ! Henry  Fuseli. 

4.— BLAKE’S  CHAUCER.  THE  CANTERBURY  PILGRIMS.  THE 
FRESCO  PICTURE,  REPRESENTING  CHAUCER’S  CHAR- 
ACTER’S, PAINTED  BY  WILLIAM  BLAKE,  AS  IT  IS  NOW 
SUBMITTED  TO  THE  PUBLIC1 

The  Designer  proposes  to  engrave  in  a correct  and  finished  line  manner 
of  engraving,  similar  to  those  original  copper-plates  of  Albert  Durer, 

1 From  a rare  leaf  of  Prospectus,  issued  15th  May  1809. 


212 


Lucas  von  Leyden,  Aldegrave,  and  the  old  original  engravers,  who  were 
great  masters  in  painting  and  designing;  whose  method,  alone,  can 
delineate  Character  as  it  is  in  this  Picture,  where  all  the  lineaments  are 
distinct. 

It  is  hoped  that  the  Painter  will  be  allowed  by  the  public  (notwith- 
standing artfully  disseminated  insinuations  to  the  contrary)  to  be  better 
able  than  any  other  to  keep  his  own  characters  and  expressions ; having  had 
sufficient  evidence  in  the  works  of  our  own  Hogarth,  that  no  other 
artist  can  reach  the  original  spirit  so  well  as  the  Painter  himself, 
especially  as  Mr  B.  is  an  old,  well-known  and  acknowledged  engraver. 
The  size  of  the  engraving  will  be  three  feet  one  inch  long,  by  one  foot 
high.  The  artist  engages  to  deliver  it,  finished,  in  one  year  from 
September  next.  No  work  of  art  can  take  longer  than  a year:  it  may  be 
worked  backwards  and  forwards  without  eud,  and  last  a man’s  whole 
life ; but  he  will,  at  length,  only  be  forced  to  bring  it  back  to  what  it 
was,  and  it  will  be  worse  than  it  was  at  the  end  of  the  first  twelve 
months.  The  value  of  this  artist’s  year  is  the  criterion  of  Society;  and 
as  it  is  valued,  so  does  Society  flourish  or  decay. 

The  price  to  Subscribers,  Four  Guineas;  two  to  be  paid  at  the  time  of 
subscribing,  the  other  two,  on  delivery  of  the  print. 

Subscriptions  received  at  No.  28,  corner  of  Broad  Street,  Golden 
Square,  where  the  Picture  is  now  exhibiting,  among  other  works,  by 
the  same  artist. 

The  price  will  be  considerably  raised  to  non-subscribers. 


5.— BLAKE’S  CHAUCER:  1 AN  ORIGINAL  ENGRAVING  BY  HIM 
FROM  HIS  FRESCO  PAINTING  OF  SIR  JEFFERY  CHAUCER 
AND  HIS  NINE  AND  TWENTY  PILGRIMS  SETTING 
FORTH  FROM  SOUTHWARK  ON  THEIR  JOURNEY  TO 
CANTERBURY.  THREE  FEET  1 INCFI  LONG,  AND  1 FOOT 
HIGH;  PRICE  THREE  GUINEAS 

The  time  chosen  is  early  morning,  before  sunrise,  when  the  jolly 
company  are  just  quitting  the  Tabarde  Inn.  The  Knight  and  Squire 
with  the  Squire’s  Yeoman  lead  the  Procession;  next  follow  the  youthful 
Abbess,  her  nun,  and  three  priests ; her  greyhounds  attend  her : 

“ Of  small  hounds  had  she  that  she  fed 
With  roast  flesh,  milk,  and  wastel  bread.” 

Next  follow  the  Friar  and  Monk  ; then  the  Tapiser,  the  Pardoner,  and 
the  Somner  and  Manciple,  After  these  “ Our  Host,”  who  occupies  the 

1 From  a rare  leaf  of  Prospectus,  issued  c.  1810. 


213 


centre  of  the  cavalcade,  directs  them  to  the  Knight  as  the  person  who 
would  be  likely  to  commence  their  task  of  each  telling  a tale  in  their 
order.  After  the  Host  follow  the  Shipman,  the  Haberdasher,  the  Dyer, 
the  Franklin,  the  Physician,  the  Plowman,  the  Lawyer,  the  poor  Parson, 
the  Merchant,  the  Wife  of  Bath,  the  Miller,  the  Cook,  the  Oxford 
Scholar,  Chaucer  himself,  and  the  Reeve  comes  as  Chaucer  has 
described : 

“And  ever  he  rode  hinderest  of  the  rout.” 

These  last  are  issuing  from  the  gateway  of  the  Inn ; the  Cook  and  the 
Wife  of  Bath  are  both  taking  their  morning’s  draught  of  comfort. 
Spectators  stand  at  the  gateway  of  the  Inn,  and  are  composed  of  an  old 
Man,  a Woman,  and  Children.  This  Inn  is  yet  extant  under  the  name  of 
the  Talbot;  and  the  Landlord,  Robert  Bristow,  Esq.  of  Broxmore  near 
Rumsey,  has  continued  a board  over  the  Gateway,  inscribed  “This  is 
the  Inn  from  which  Sir  Jeffery  Chaucer  and  his  Pilgrims  set  out  for 
Canterbury.”  St  Thomas’s  Hospital  which  is  situated  near  to  it  is  one  of 
the  most  amiable  features  of  the  Christian  Church,  it  belonged  to  the 
Monastery  of  St  Mary  Overies  and  was  dedicated  to  Thomas  a Becket. 
The  Pilgrims,  if  sick  or  lame,  on  their  Journey  to  and  from  his  Shrine, 
were  received  at  this  House.  Even  at  this  day  every  friendless  wretch 
who  wants  the  succour  of  it,  is  considered  as  a Pilgrim  travelling  through 
this  Journey  of  Life. 

The  Landscape  is  an  eastward  view  of  the  country,  from  the  Tabarde 
Inn,  in  Southwark,  as  it  may  be  supposed  to  have  appeared  in  Chaucer’s 
time;  interspersed  with  cottages  and  villages;  the  first  beams  of  the 
Sun  are  seen  above  the  horizon;  some  buildings  and  spires  indicate  the 
situation  of  the  Great  City.  The  Inn  is  a gothic  building,  which  Thynne 
in  his  Glossary  says  was  the  lodging  of  the  Abbot  of  Hyde,  by 
Winchester.  On  the  Inn  is  inscribed  its  title,  and  a proper  advantage  is 
taken  of  this  circumstance  to  describe  the  subject  of  the  Picture.  The 
words  written  over  the  gateway  of  the  Inn  are  as  follow:  “The 
Tabarde  Inn,  by  Henry  Baillie,  the  lodgynge-house  for  Pilgrims  who 
journey  to  Saint  Thomas’s  Shrine  at  Canterbury.” 

Of  Chaucer’s  characters,  as  described  in  his  Canterbury  Tales,  some 
of  the  names  or  titles  are  altered  by  time,  but  the  characters  themselves 
for  ever  remain  unaltered;  and  consequently  they  are  the  physiognomies 
or  lineaments  of  universal  human  life,  beyond  which  Nature  never  steps. 
The  Painter  has  consequently  varied  the  heads  and  forms  of  his  person- 
ages into  all  Nature’s  varieties  ; the  Horses  he  has  also  varied  to  accord 
with  their  Riders:  the  Costume  is  correct  according  to  authentic  monu- 
ments. Subscriptions  received  at  No.  28,  Corner  of  Broad  Street,  Golden 
Square.  G.  Smeeton,  Printer,  17,  St  Martin’s  Lane,  London. 

214 


6.— THE  PROLOGUE  AND  CHARACTERS  OF  CHAUCER’S 
PILGRIMS,  SELECTED  FROM  HIS  CANTERBURY  TALES  : 
INTENDED  TO  ILLUSTRATE  A PARTICULAR  DESIGN 
OF  MR  WILLIAM  BLAKE.  (1812  *) 

Preface 

The  Borough  of  Southwark,  so  seldom  visited  by  the  Gentry  of  the 
Metropolis,  was  anciently  the  seat  of  Royalty,  the  residence  of  the  Church 
and  the  station  of  the  public  Theatres.  It  extended  from  the  Palace  of 
King  John  in  Bermondsey  to  that  of  the  Archbishop  of  Canterbury  in 
Lambeth;  among  the  marks  of  its  grandeur,  St  Thomas’s  Hospital, 
London  Bridge,  and  St  Saviour’s  Church,  remain  with  their  original 
foundations.  The  Tabbard,  now  called  the  Talbot  Inn,  likewise  remains, 
and  in  memory  of  that  singular  Pilgrimage  which  the  Poet  Chaucer 
attended  from  thence,  a board  with  the  following  inscription  is  placed 
over  the  gateway  : 


“ This  is  the  Inn  where  Geoffry  Chaucer , Kgiight,  and  his  nine  and  twenty  Pilgrims , lodged  on  their 
Journey  to  Canterbury,  Anno.  1388.” 


The  present  Proprietor  of  the  Inn,  Robert  Bristow,  Esq.  of  Broxmore  in 
Wiltshire,  insisted  on  this  mark  of  Antiquity  being  made  a fixture  to  the 
Premises. 

To  the  genius  and  fancy  of  that  celebrated  Artist  Mr  Blake,  it  occurred, 
that  tho’  the  names  and  habits  of  men  altered  by  time,  yet  their  char- 
acters remained  the  same ; and  as  Chaucer  had  drawn  them  Four  Hundred 
years  past,  he  might  as  justly  delineate  them  at  the  present  period,  and 
by  a pleasant  picture,  bring  to  our  imagination  the  merry  company  setting 
out  upon  their  journey. 

As  the  Canterbury  Tales  may  be  too  long  a story  for  modern  amuse- 
ment, I have  selected  the  Prologue  and  the  Characters,  that  the  heads, 
as  represented  by  Mr  Blake,  may  be  compared  with  the  lineaments 
drawn  by  Mr  Chaucer,  and  I think  the  merit  of  the  Artist  will  be  gener- 
ally acknowledged. 

The  original  reading  is  copied  from  the  edition  of  Thomas  Speight, 
printed  Anno.  1687;  and  the  Translation  from  Mr  Ogle’s  edition,  1741. 
If  this  small  specimen  should  recommend  the  Print  to  the  notice  of  the 
Encouragers  of  Art,  it  will  gratify  and  amply  repay  the  intention  of 

The  Editor. 


1 See  No.  25  of  the  Catalogue. 


215 


7-—  A LETTER  FROM  BLAKE  TO  DAWSON  TURNER,  DATED 
9TH  JUNE  1 8 1 8,  WITH  THE  PRICES  OF  HIS  BOOKS  IN 
ILLUMINATED  PRINTING 

. . . I send  you  a list  of  the  different  works  you  have  done  me  the  honour 
to  inquire  after.  They  are  unprofitable  enough  to  me,  though  expensive 
to  the  buyer.  Those  I printed  for  Mr  Humphry  are  a selection  from  the 
different  books  of  such  as  could  be  printed  without  the  writing,  though 
to  the  loss  of  some  of  the  best  things ; for  they,  when  printed  perfect, 
accompany  poetical  personifications  and  acts,  without  which  poems  they 
could  never  have  been  executed. 


£,  s • a • 


America 

. . 1 8 prints  folio 

5 

5 

0 

Europe  .... 

. . 17  ,,  folio 

5 

5 

0 

Visions. 

• . 8 ,,  folio 

3 

3 

0 

Thel  .... 

. . 6 ,,  quarto 

2 

2 

0 

Songs  of  Innocence 

28  ,,  octavo 

3 

3 

0 

Songs  of  Experience 

. . 26  ,,  octavo 

3 

3 

0 

Urizen 

. . 28  „ octavo 

5 

5 

0 

Milton  .... 

. . 50  „ quarto 

10 

10 

0 

12  large  prints,  size  of  each  about  2 ft.  by  1 \ ft.,  historical  and  poetical, 

printed  in  colours 

Each 

5 

5 

0 

These  last  twelve  prints  are  unaccompanied  by  any  writing.  The  few  I 
have  printed  and  sold  are  sufficient  to  have  gained  me  great  reputation  as 
an  artist,  which  was  the  chief  thing  intended.  But  I have  never  been 
able  to  produce  a sufficient  number  for  general  sale  by  means  of  a regular 
publisher.  It  is  therefore  necessary  to  me  that  any  person  wishing  to 
have  any  or  all  of  them  should  send  me  their  order  to  print  them  on  the 
above  terms,  and  I will  take  care  that  they  shall  be  done  at  least  as  well 
as  any  I have  yet  produced. — I am,  sir,  with  many  thanks  for  your  very 
polite  approbation  of  my  works,  your  obedient  servant, 

William  Blake. 


8.— EXTRACT  FROM  A LETTER  FROM  BLAKE  TO  GEORGE 
CUMBERLAND,  DATED  12TH  APRIL  1827,  WITH  THE 
PRICES  OF  HIS  BOOKS  IN  ILLUMINATED  PRINTING 

. . .You  are  desirous,  I know,  to  dispose  of  some  of  my  works,  and  to 
make  them  pleasing.  I am  obliged  to  you  and  to  all  who  do  so.  But 
having  none  remaining  of  all  I had  printed,  I cannot  print  more  except  at 
at  a great  loss.  For  at  the  time  I printed  these  things  I had  a whole 
house  to  range  in.  Now  I am  shut  up  in  a corner.  Therefore  I am  forced 
to  ask  a price  for  them  that  1 scarce  expect  to  get  from  a stranger.  I am 

216 


now  printing  a set  of  the  “ Songs  of  Innocence  and  Experience  ” for  a 
friend  at  ten  guineas,  which  I cannot  do  under  six  months,  consistent 
with  my  other  work ; so  that  I have  little  hope  of  doing  any  more  of 
such  things.  The  last  work  is  a poem  entitled  “Jerusalem,  the  Emanation 
of  the  Giant  Albion,”  but  find  that  to  print  it  will  cost  my  time  the 
value  of  twenty  guineas.  One  I have  finished.  It  contains  ioo  plates. 
But  it  is  not  likely  I shall  get  a customer  for  it. 

As  you  wish  me  to  send  you  a list  with  the  prices  of  these  things,  they 
are  as  follows : 


America  . . . . . . . . . . .660 

Europe  . . . . . . . . . . .660 

Visions,  etc.  . . . . . . . . . .550 

Thel  . . . . . . . . . . . *33° 

Songs  of  Innocence  and  Experience  . . . . . . 10  10  o 

Urizen  . . . . . . . . . .660 


217 


INDEX 


INDEX 

[Note. — The  numbers  below  refer  to  the  numbers  in  the  Catalogue.) 


“ 1 A Wicked  Man  is  more  to  be  pitied,’  ” 
etc.,  77  (xii. ) 

“ Abel,  Ghost  of,”  29,  31 
Academy,  Royal,  4,  28,  40,  42 
“ Accuser,  To  the,”  8 (xxii.) 

“Accusers  of  Theft,”  etc.,  10 
Ackermann,  R.,  40 
Adam,  28 

“ Adam  and  Eve,”  26 
“ Adam  and  the  Animals,  19  (i.) 

Adams,  Henry,  13 

“Adventures  of  Sir  L.  Greaves,”  49D 
“ Advertisement  of  Moore  & Co’s  Manu- 
factory,” 6 

“ ‘ Aeconomy  and  Self-denial,’  ” etc.,  7 (vi.) 
“ Aged  Ignorance,”  8 
“ Aged  Man  addressing  a Multitude,”  5 
“ Agnello  and  Cianfa  merging  in  a single 
Body,”  34  (iv.) 

“ Agrippa,  Portrait  of,”  30  (xxv. ) 

“Ain,  Battle  of,”  63  (ii.) 

“Air,”  8 (vii.) 

“ Alas  ! ”,  8 (x.) 

Albion,  3 

“ Alfred  and  the  Neat-herd’s  Wife,”  90  (i.) 
Allen’s  “ History  of  England,”  90 
— “ Roman  History,”  88 
“America,”  Blake’s,  8 (xviii.),  14,  21,  22, 
26 

“‘An  Idle  Man,’”  etc.,  77  (x. ) 
“Anacreon,  Ode  LIE,”  85  ( viii. ) 

“ Ancient  of  Days,”  1 5 

“Ancient  Monuments,”  Ayloffe’s,  1 1 3 

“Ancient  Mythology,”  Bryant’s,  no 

“Anecdotes  of  Mary,”  81 

Angel  of  the  Divine  Presence,  28,  33  (iii.) 

Antiquaries,  Society  of,  113,  115 

“ Aphorisms  on  Man,”  Lavater’s,  68 

“ Archaeologia,”  115 

“ Aristophanes  Clouds,  Sc.  i.,”  85  (vii.) 

“Armour,”  Print  illustrating,  105  (i.) 


“ ‘As  when  a dream  of  Thiralatha,’  ” etc.,  14 
“Asia  and  Africa,”  43  (i.) 

Aspland  Sale,  104 

“‘At  length  for  hatching  ripe,’  ” etc.,  8 (ix.) 

“ Athenaeum,  The,”  30 

Atlas,  Mount,  26 

Audinet,  Engraving  by,  134 

“ Augustus,  Portrait  of,”  30  (xxiv.) 

“ Awe-struck  Group  on  a Rock  by  the 
Sea,”  65 

Ayloffe’s  “Ancient  Monuments,”  113 

Bain,  Mr,  1 7 
Baldwin’s  “Fables,”  124 
— “Pantheon,”  126 

“Ballads,”  Hay  ley’s  (4to),  19;  (i2mo), 
20 

Balmanno  Collection  of  Stothard’s  Works, 

43-  44-  47)  5°)  52)  53)  55  (“*•  and  iv.), 
62,  63  (ii.),  70,  in 

Basire,  James,  110,  112,  1 1 3 , 1 1 4,  1 1 5, 
1 1 7 

“Basso  Relievo,”  Prints  illustrating,  105 


“Battle  of  Ain,”  63  (ii.) 

“ ‘ Be  calm,  my  child,’  ” etc.,  7 (iv.) 
Beckford,  William,  8 
“ Beggar’s  Opera,”  7 1 
Behemoth,  33  (xvi.) 

Bell’s  “ Chaucer,”  51 

— “ Poets,”  52 

“Bible,  Protestant’s  Family,”  73 
Binyon,  Laurence,  1,  26,  30 
Blake,  E.,  13 1 

— Robert,  65 

“Blair’s  Grave,”  8 (xviii.),  17  (xii.  and 
xxiii.),  21,  22,  40  (xi.) 

“ Blind  Beggars’  Hats,”  58  (iv.) 

“ Bocca  degli  Abbati,  Dante  striking,”  24 
(vii.) 


221 


Index 


Boddington,  Thomas,  8 
Bodleian  Library,  io 
Bonnycastle’s  “ Mensuration,”  47 
Boston  Museum  of  Fine  Arts,  10,  13,  37, 
68,  80 

“ Botanic  Garden,”  Darwin’s,  79 
Bourdillon,  F-  w->  33  (*'*•)>  40 
Bray’s  “ Life  of  Stothard,”  120 
Briggs,  Ada,  125 

“Britannia  Triumphant,  Statue  of,”  91  (i.) 
British  Museum  (Print  Room) , passim 
Broad  Street,  Golden  Square,  24,  25,  59 
Brooke,  Rev.  Stopford  A.,  8 (xix.),  16, 

33>  io5  (*▼•) 

Brown,  H.  Darrel,  66 
“ Brown  (John),  Portrait  of,”  83 
Bryant’s  “ Ancient  Mythology,”  1 10 
“ Buoso  Donati  attacked  by  the  Serpent,” 
.34  (v.) 

Burger’s  “Leonora,”  38 
Burlington  Fine  Arts  Club,  37,  66, 
Burlington  House,  101 
“Burlington  Magazine,”  101 
“ Butterfly  and  Snail,”  80  (vi.) 

Butts  Collection,  17,  33,  35,  40  (vii.),  125 
— Thomas,  19 
— - Thomas  (junior),  125 
Byfield,  30  (xxi. ) 

“Byron  (Miss),  visiting  Miss  Emily 
Jervoise,”  49E  (i. ) 

“ Caesar,  Portrait  of,”  30  (xxvi.) 

“ Calisto,”  60 

Cambridge,  Fitzwilliam  Museum,  4 
Campe’s  “ Elementary  Dialogues,”  121 
“ Canterbury  Pilgrims,”  Chaucer’s,  24,  25 
Carter,  John,  1 1 3 
“Catullus,  Portrait  of,”  82  (i.) 

Cave,  8 (vi.) 

“ Celebrated  Graman  Quacy,”  84  (xiv.) 

“ Cervantes,”  Smollett’s,  49A 
Chaining  of  Ore,  26 
Chalmers’  “ Shakespeare,”  98 
’Change  Alley,  89,  93,  103 
“Chaucer,”  Bell’s,  51 
“Chaucer’s  Canterbury  Pilgrims,”  24,  25 
“ Chaucer’s  Pilgrims,  the  Prologue  and 
Characters  of,”  25 
Cherubim,  28,  33  (xv.) 


Chichester  Cathedral,  19  (ii. ) 

“Children,  For  (The  Gates  of  Paradise),” 
8,  8 (i.) 

“Children,  For  (The  Gates  of  Hell),”  8 
“Christ  descending  into  the  Grave,”  40  (ii. ) 
“ Christ  with  a Bow,  trampling  upon  Satan,” 
35 

Christie,  Messrs,  53,  108,  118,  128 
Chodowieki,  77 

“Circle  of  the  Falsifiers,”  34  (vi.) 
“Clarence’s  Dream,”  45 
“Cleopatra,  Death  of,”  88  (iv. ) 

“ Colinet,”  30 

Codings,  Blake  after,  58  (ii.-v.) 

Collyer’s  “ Geography,”  43 
“Colossal  Statue  230  feet  high,”  91  (i.) 

“ Commins  (Thos. ),  Elegy  set  to  Music 
by>”  4 

“Conjugal  Union  of  Cupid,”  85  (iv.) 
“Connoisseur,  The,”  125 
“ Conscience  and  the  Recording  Angel,” 
17  (xvii.),  42 

“ Coromantyn  Free  Negro,”  84  (i.) 

Cosway,  Blake  after,  64 

“Counseller,  King,  etc.,  in  the  Tomb,”  40 

(iv0 

“Covenant,  The,”  33  (xix.) 

Cowper,  Blake’s  Portraits  of,  96  (i.  and  iii.) 
“ Cowper,  Hayley’s  Life  of,”  96 
Cowper’s  Grave,  96  (v.) 

“ Cowper’s  Tame  Hares,”  96  (iv.) 
“Cowper’s  Monument,”  Print  of,  96  (vi.) 
“Cowper,  Mrs,  Portrait  of,”  96  (ii.) 
Coxhead,  A.  C.,  1 1 6 
Crewe  Sale,  The,  17,  27,  29,  31,  33 
Cromek,  R.  H.,  21,  39,  40 
Cumberland,  George,  36,  85 

— “ Message  Card,”  36 

— “ Thoughts  on  Outline,”  85 
“Cupid  and  Psyche,”  85  (v.) 
“Cyclopaedia,”  Rees’s,  28,  105 

“D  AMON  AT  D elia’s  Tomb,”  48  (i.) 

“ Dance  of  the  Peasants,”  49B 
“ Dante,  Illustrations  of,”  34 
Dante’s  “Inferno,”  8 (xv.) 

“Dante  striking  Bocca  degli  Abbati,”  34 

(vii-) 

Darwin’s  “ Botanic  Garden,  79 
“David  pays  the  Landlady,”  49c 


222 


Index 


“ David  Simple,”  49,  49c 
“Day  of  Judgment,”  40  ( viii.) 

“ Death  of  Cleopatra,”  88  (iv.) 

“Death’s  Door,”  8 (xviii),  21,  22,  40 
(xi.) 

“Death  of  the  Firstborn,”  37A 
“ Death  of  the  Good,  Old  Man,”  40  (x.) 
“Death  of  Lucretia,”  88  (ii. ) 

“Death  of  the  Strong,  Wicked  Man,” 
40  (v.) 

“Deluge,”  Vignette  of  the,  1 10 
“ Democritus,”  69  (i.) 

“ Demosthenes,  Death  of,”  94  (ii.) 

“ Descent  of  Man  into  the  Vale  of  Death,” 
40  (vii.) 

“ Descriptive  Catalogue,”  Blake’s,  2,  24 
Dew-Smith,  Mrs,  38  (iii.) 

Dibden’s  “ Literary  Reminiscences,”  134 
Dilke,  Sir  Charles,  33  (vii.) 

“ Discomfited  Duellists,”  58  (iii.) 

“ Divina  Commedia,”  Designs  for  the,  34 
Divine  Image,  8 (x.),  16 
Divine  Presence,  Angel  of  The,  28,  33 
(iii.) 

Dodsley’s  “ Lady’s  Pocket  Book,”  50 
“‘Does  thy  God  O Priest,’”  etc.,  8 (xv.) 
“Dog,  The,”  19  (xii.),  20  (i.) 

“ Dog  and  Fox,”  80 
Donaldson,  Blake  after,  83 
“ Dream  of  Thiralatha,”  14 
Druid,  32  (vi.,  ix.,  xiii.,  xiv.  and  xv.) 
Dunker,  Blake  after,  54 
Diirer,  Albrecht,  16 


“Eagle,  The,”  19  (vi.-viii. ) , 20  (ii.) 

“ Eagle’s  Masque,”  129 
Earle  (J.),  Blake  after,  76 
“ Earth,”  8 (vi.) 

East  Dereham  Church,  96  (v.  and  vi.) 

“ Ecstasy  of  St  Mary  Magdalene,”  16 
“ Edinburgh  Review,”  40  (viii.) 

“Edward  III.,  Portrait  of,”  117 
“ Edward  IV.,”  10 
“ Edward  and  Elenor,”  2,  1 1 
Edwards,  Richard,  17 
Elegy  set  to  Music  by  Thomas  Commins,  4 
“Elementary  Dialogues,”  Campe’s,  12  1 
“ Elements  of  Algebra,”  Euler’s,  86 
“ Elements  of  Morality,”  Salzmann’s,  77 


“ Elephant,  The,”  19  (iii.-v.) 

Ellis  and  Yeats’s  “ Blake,”  3 
Enfield’s  “ Speaker,”  45 
“English  Songs,”  Ritson’s,  55 
Enitharmon,  26 

“ Epicurus,  Portrait  of,”  30  (xxvii.) 

“ Essays  on  Physiognomy,  Lavater’s,”  69 
“ Essay  on  Sculpture,”  Hayley’s,  94 
“ Euler  (Leonard),  Portrait  of,”  86 
Euler’s  “ Algebra,”  86 
“ Europe,”  Blake’s,  1 5 
“ Europe  supported  by  Africa  and  America,” 
84  (xv.) 

Evans,  R.  H.,  19 

“ Execution  on  the  Rack,”  84  (xiii.) 
“Ezekiel,”  12,  13 


“Fables,”  Baldwin’s,  124 
“Fables,”  Gay’s,  80 
“ Fall  of  Rosamund,”  56 
“ ‘ Falsa  ad  Coelum,’  ” etc.,  75 
“Family  of  Negro  Slaves,”  84  (xii.) 

Farey,  Blake  after,  105  (iii.) 

“ Father’s  Memoirs  of  his  Child,”  39 
“ Fear  & Hope  are — Vision,”  8 (xvi.) 
Felpham,  8,  18,  19,  96 
Female,  The,  8 (x.) 

Fenning’s  “ Geography,”  43 
“ Fertilization  of  Egypt,”  79 
Fielding,  (Miss),  “David  Simple,”  by, 
49c 

“ Fire,”  8 (viii.) 

“ Firstborn,  Death  of  the,”  37A 
Fittler,  102 

Fitzwilliam  Museum,  4 
“ Flagellation  of  a Female  Samboe  Slave,” 
84  (viii.) 

Flaxman,  John,  40,  86,  94,  96  (v.  and  vi. ), 
105 

Flaxman,  Blake  after,  91,  93,  100,  107, 
122 

Flaxman’s  “ Hesiod,”  107,  122 

— “Homer,”  100 

— “ Iliad,”  122 

— “ Letter  to  the  Committee,”  etc.,  91 

— “Odyssey,”  122 

— Maria,  Designs  by,  97 
Flea,  Ghost  of  a,  41 
Folkestone,  18 


223 


Index 


Foster,  Messrs,  32  (xxi.) 

Fountain  Court,  32 

“ Fugitive  Shechemites  burnt,”  63  ( iii. ) 
Fuseli,  Henry,  17,  40,  47,  88,  98 

— Blake  after,  68,  72,  74,  75,  79,  95, 

98 

— “ Lectures  on  Painting,”  95 
Fuseli,  “Shakespeare,”  98 

“ Gallus,  Portrait  of,”  30  (xxv.) 

“ Gambols  of  the  Ghosts,”  40 
“ Garden  of  Love,”  18 
Garnett,  Richard,  2,  15,  109 
“ Gates  of  Paradise,”  8,  9,  21 
Gay,  (John),  “ Fables  ” by,  80 
“Gem  Engraving,”  Print  illustrating,  105 
(>“•) 

“ Genius  of  Morning,”  3 
“Geographical  Magazine,  Martyn’s,”  116 
“ Geography,  New  System  of,”  43 
“ Geography,  System  of,”  43 
“ Ghost  of  Abel,”  29,  31 
“ Ghost  of  a Flea,”  41 
Gilchrist,  H.  H.,  33  (xxi.) 

Gilchrist’s  “ Life  of  Blake,”  passim 
Gilchrist,  Mrs,  37 
“ Glad  Day,”  3 
Glastonbury,  1,  5 

“ Glees,  etc.,  Poetry  of  Various,”  89 
Gnosticism,  28 

“ Goat  without  a Beard,”  80  (v.) 
Goldsmith’s  “Moral  Tales,”  etc.,  130 
Golgonooza,  26 

Gothic  Architecture,  1,  7 (v.),  23,  25  (ii.), 
33  (ii.  and  v.) 

“Gothic  Fiend,”  134 
Gough’s  “ Sepulchral  Monuments,”  1 1 7 
“ Grandison,  Sir  Charles,”  49,  49E 
“ Grandison’s  Painful  Interview,”  49E  (iii.) 
Grandison  repelling  O’Hara  and  Salmonet, 
49E  (ii.) 

“ Graphic  Muse,”  101 
“Grave,”  Blair’s,  8 (xviii.),  17  (xii.),  21, 
22,  40  (xi.) 

“ Greaves,  Sir  Launcelot,”  49,  49D 
“ Greenwich  Hospital,  View  of,”  91 

(iii.) 

“ GrifFolino  and  Capocchio,”  34  (vi.) 
Grolier  Club  (New  York),  5,  10,  17,  29, 
33  (xix-) 


“'Group  of  Negroes,”  84  (vi.) 

“ Gymnastics  for  Youth,”  Salzmann’s,  123 

“Haller  (Albert  de),  Portrait  of,”  54 
Hamilton  Palace  Sale,  8 
“ Harmonists,”  89 
“Hartley  (David),  Portrait  of,”  78 
Hartley’s  “ Observations  on  Man,”  78 
Hayley,  Thomas,  94  (ii.  and  iii-) 

— William,  18,  40,  86,  94,  98 

— — “Ballads  by,”  (4U)),  19;  (i2mo), 
20 

Hayley,  William,  “ Essay  on  Sculpture,”  94 

“ Life  of  Cowper,”  96 

“ Life  of  Romney,”  99,  102 

“Triumphs  of  Temper,”  97 

“ ‘ He  struggles  into  Life,’  ” 8 (vi.) 

“ Head  of  Man  tormented  in  Fire,”  74 
“‘  Health  is  dearer  to  me,’  ” etc.,  77  (i. ) 
Heins,  (D.)  Blake  after,  96  (ii.) 

“ Hell,  Gates  of,”  8 
“Help!  Help!”,  8 (xiii. ) 

Henry’s  “ Memoirs  of  Haller,”  54 
Hercules  Buildings,  8,  10,  11,  13 
“ Hermit’s  Dog,”  20  (iv. ) 

Hervey’s  “ Geography,”  43 
“Hesiod,”  Flaxman’s,  107 
“Hiding  of  Moses,”  32 
“ History  of  England,”  Blake’s,  2,  9 
“ History  of  England,”  Allen’s,  90 
Hoare,  Prince,  101 

Hoare’s  “ Inquiry  into  the  State  of  the 
Arts,”  1 01 
Hodgson,  Messrs,  14 
Hogarth,  Blake  after,  71 
“Hollis,  Memoirs  of,”  112 
“Homer  Invoking  the  Muse,”  100  (i.) 
Homer’s  “Iliad,”  xoo 

— “ Odyssey,”  122 

“ Homer’s  Poetry,  On,”  29 
Hoole’s  “ Orlando  Furioso,”  53 
Hooper,  E.  W.,  10 
“H  orse,  The,”  20  (v.) 

Houghton,  Lord,  20  (iii.) 

Humphrey,  Ozias,  40  ( viii. ) 

Huntly,  Marchioness  of,  133 

“ ‘ I FOUND  HIM  BENEATH  A TREE,’  ” 8 (iv.  ) 

“ ‘ I hate  you  ! ’ ”,  77  (viii.) 

“ ‘ I have  said  to  the  Worm,”’ etc.,  8 (xix.) 


224 


Index 


“ ‘ I take  away  from  thee  the  Desire  of 
thine  Eyes,’  ”13 
“ ‘ I want ! I want ! ’ ”,  8 (xii.) 

“Idle  Laundress,”  67,  1 1 8,  119 
“ ‘ If  we  love  others,’  ” etc.,  77  (ix. ) 
“Iliad,”  Flaxman’s,  100 
Illuminated  Printing,  3,  5,  10,  14,  15,  16, 

29>  37>  37A 

Imagination,  35 

“ ‘ Indeed  we  are  very  happy  ! ’ ”,  7 
“Industrious  Cottager,”  66,  118 
“ Inquiry  into  the  State  of  the  Arts,” 
Hoare’s,  101 

“Interpreter’s  Parlour,  Man  sweeping  the,” 
29,  31 

“Iron  Age,”  85  (vi. ) 

“‘Is  there  any  Hope  ? ’ 77  (vi.) 

“ Isaiah,”  8 (v.) 

Israelitish  Idolatry,  73  (iv.) 

Jackson,  T.  W.,  33  (xvi.) 

Jehovah,  28 

“Jerusalem,”  Blake’s,  8,  22,  32  (xvi.),  35 
“ Jewish  Spies,  Return  of  the,”  62 
“Job  ” (1793),  12 
“ Job,  Book  of,”  33 
“Job  in  Prosperity,”  23 
“ Joseph  of  Arimathea  among  the  Rocks  of 
Albion,”  1,  1 10 

“ Joseph  of  Arimathea  preaching  to  the 
Inhabitants  of  Britain,”  5 
“ Joseph  and  his  Brethren,  4 
“Joseph  sold  to  the  Ishmaelites,”  73  (iii.) 
Johnson,  Canon  Cowper,  96  (i.) 

Johnson,  J.,  passim 
Johnson’s  “ Moral  Tales,”  130 
“Josephus,”  Maynard’s,  62,  63,  73 
“Joshua  passing  the  Jordan,”  73  (v.) 

“ Katharine,  Griffiths  & Patience,”  98 
v 0-> 

Keynes,  G.  L.,  89,  134 
“ Keys  of  the  Gates,”  8 (xx.  and  xxi.) 

“ King  John  absolved  by  Pandulf,”  90  (ii.) 

“Lady  in  the  Full  Dress,”  etc.,  50  (i.) 

“ Lady’s  Magazine,”  1 1 1 
“ Lady’s  Pocket  Book,”  50 
“ L’Allegro,”  Milton’s,  27 
Lamb’s  “Tales  from  Shakespeare,”  128 


“ Laocoon,”  28,  105  (vi.) 

Lark,  22 

“ Last  Judgment,”  16,  40  (viii.) 

“ Last  Judgment,  A Scene  in  the,”  10 
“ Launcelot  Greaves,”  49D 
Lavater’s  “Aphorisms,”  68 

— “ Essays  on  Physiognomy,”  69 

— “ Portrait  of,”  92 
Lawrence,  Sir  Thomas,  30 

— Blake  after,  96  (iii.) 

“Lectures  on  Painting,”  Fuseli’s,  95 
Legat,  F.,  95 

“ Leonora,”  Burger’s,  38 

“‘  Let  him  look  up  into  the  Heavens,’  ” 22 

Lethaby,  W.  R.,  113 

“Letter  to  the  Committee,”  Flaxman’s,  91 

“ Leviathan,”  33  (xvi.) 

“ Limes,  Capsicum,”  etc.,  84  (xi.) 

Linnell,  John,  30,  33,  34,  41,  136 

— Blake  after,  109,  136 

— John  (junior),  8 

— Collection,  The,  1 1,  27,  30,  33,  34,  36, 
106 

“Lion,  The,”  19  (ix.-xi.),  20  (iii.) 
Lithograph  by  Blake,  23 
“Little  Tom  the  Sailor,”  18 
“ ‘ Look  what  a fine  Morning  it  is ! ’ ” etc., 

7 (i.) 

Los,  1,  26 

“ Los,  The  Song  of,”  26 
“ Lot  and  Abraham,  Parting  of,”  63  (i.) 

“ Lot’s  Escape,”  73  (ii). 

Lowndes’s  “ Manual,”  63 
Lowry,  Wilson,  105  (iii.) 

— Portrait  of,  109 

“ Lucifer  showing  the  Pope  his  Destiny  in 
Hell,”  37A 

“ Lucretia,  Death  of,”  88  (ii.) 

Macgeorge,  B.  B.,  8,  19,  22,  40  (i.), 

9+  (»>■)>  1 3 + 

“ Maecenas,  Portrait  of,”  30  (xxv.) 

Maile,  G.  133 

“ Malebranche  quarrelling,”  34  (iii.) 
“Malebranche  tormenting  Ciampolo,”  34  (ii.) 
“Malkin’s  Memoirs  of  his  Child,”  39,  117 
“ Mambrino’s  Helmet,  Doubts  concerning,” 
49A  ('•) 

“ Man  sweeping  the  Interpreter’s  Parlour,” 

29>  31 


p 


225 


Index 


Manchester,  Whitworth  Institute,  1 5 
Mandrake,  8 (iv. ) 

“ Marius  at  Minturnum,”  88  (iii.) 

“ Marriage  of  Heaven  and  Hell,”  10 
“Mars  and  Rhea  Silvia,”  88  (i.) 

Martyn’s  “Geographical  Magazine,”  116 
“ Mary,  Anecdotes  of,”  81 
Maxwell,  Sir  John  Stirling,  24 
“ May  (Robert),  Portrait  of,”  61 
Maynard’s  “Josephus,”  62,  63,  73 
McDowall,  Katharine,  101 
“ Mecoo  & Kishee  Kishee  Monkeys,”  84 

(iv-)  . . , 

“ Meditaciones  Poeticas,”  Mora’s,  40 

“ Meeting  of  a family  in  Heaven,”  40  (iii.) 
Meheux  (J.),  Blake  after,  57 
“ Mensuration,”  Bonnycastle’s,  47 
Metz,  Blake  after,  63  (i.  and  iii.) 
Michelangelo,  Blake  after,  1 
“ Michelangelo,  Portrait  of,”  95 
“Milton,”  Blake’s,  8,  28 

— “ II  Penseroso,”  27 

— “ L’Allegro,”  27 

— “Paradise  Lost,”  15,  35 

“ Minerva  repressing  the  Fury  of  Achilles,” 
100  (ii.) 

“ Mirth  and  her  Companions,”  27 
“Miser  and  Plutus,”  80  (ii.) 

“ Monthly  Magazine,”  87 
“ Moore  & Co’s  Manufactory,  Advertisement 
of,”  6 

“Moral  Tales,”  etc.,  130 
“ Moralisches  Elementarbuch,”  77 
Morgan,  J,  Pierpont,  33 
Morland,  Blake  after,  66,  67,  118,  119 
“ Morning  Amusement,”  after  Watteau, 
46 

“ Morning  Amusement  of  the  Princess 
Royal,”  50  (i.) 

Morse,  Sydney,  19  ( vii. ) 

“ Moses  placed  in  the  Ark  of  Bulrushes,”  32 
Mosher,  Thomas  B.,  30 
Muir,  William,  134 
Mulready,  William,  128,  129 
“ ‘ My  Son  ! My  Son  ! ’ ”,  8 (xi.) 

National  Portrait  Gallery,  40 
Natural  Religion,  16 
“Naval  Monument,  For  the,”  93 
“Naval  Pillar  or  Monument,”  91 


“Negro  hung  alive,”  84  (ii.) 

“ Nepos,  Portrait  of,”  82 
“ New  System  of  Geography,”  43 
“New  Theatrical  Characters,”  West’s,  131 
Nichols,  J.  B.,  7 1 

“Night  Thoughts,”  Young’s,  17,  40  (i., 
vii.  and  x.),  42 

“Noah  and  the  Rainbow,”  33  (xix.) 

“ Nollekens  and  his  Times,”  40,  x 1 7 
“Notes  and  Queries,”  131 
“ Novelist’s  Magazine,”  49 

‘“O  God!  Thou  art  just,’ ” 77  (iv.) 

“ ‘ O how  I dreamt  of  things  impossible,’  ” 
38  (i.) 

“ Obelisk,”  etc.,  91  (ii.) 

“ Observations  on  Man,”  Hartley’s,  78 
“ Odyssey,”  Flaxman’s,  122 
“ ‘ On  Cloudy  Doubts  & Reasoning  Cares,’  ” 
8 (vii.) 

Ophiouchos,  28 
“ Ore,  Chaining  of,”  26 
“ Original  Stories,”  Wollstonecraft’s,  7 
“Orlando  Furioso,”  Hoole’s,  53 
“ Our  End  is  Come,”  10 
“ Owl  and  Farmer,”  80  (ix.) 

Palmer,  Herbert,  21 
“Pan  and  Fortune,”  80  (xi.) 

“Pantheon,”  Baldwin’s,  126 
“Paolo  and  Francesca,”  34  (i.) 

“ Paradise,  Gates  of,”  8 
“Paradise  Lost,”  15,  35 
Parker  & Blake,  59 

“Parting  of  Lot  and  Abraham,”  63  (i.) 

“ Pastorals  of  Virgil,”  30 
“ ‘ Patience  can  soften  every  pain,’  ” 77  (v.) 
“ Paye,  Miniature  by,”  39 
“ Penance  of  Jane  Shore,”  2 
“ Pensero,  II,”  Milton’s,  27 
“ Pericles,”  94  (i. ) 

Perry,  38 

“Persian,  Sun,  and  Cloud,”  80  (vii.) 
Petworth  Park,  16 
Pewter,  Woodcut  upon,  18,  31 
“ Pheasant’s  Nest,”  96  (iv.) 

“ Phillipa,  Head  of  Queen,”  117 
Phillips,  Richard,  20,  101 
Phillips,  T.  (R.A.),  40 
— Blake  after,  104 


Index 


“Pin  and  Needle,”  80  (iv.) 

Piroli,  Thomas,  ioo,  107,  122 
“Pitts  (Edmund),  Portrait  of,”  76 
“ Pleasures  of  Benevolence,”  81 
“Poetical  Magazine,”  135 
“ Poetical  Sketches,”  10 
“ Poetry  of  various  Glees,  &c.,”  89 
Poland  Street,  72 
“ Pollio,  Portrait  of,”  30  (xxv.) 
Polyautography,  Specimens  of,  23 
“ * Pompey  is  dead  ! ’ ”,  77  (iv.) 

Portland  Vase,  79 
Poussin,  Nicolas,  30  (xxi.) 

Print  Room  (British  Museum),  passim 
Printed  Drawings,  37,  37A 
“Private  Marine  of  Col.  Fourgeoud’s 
Corps,”  84  (iii.) 

“ Prologue  and  Characters  of  Chaucer’s 
Pilgrims,”  25 

“Prospectus,”  Blake’s  (iothOct.,  1793), 
2,  8,  9,  11,  12 

“Protestant’s  Family  Bible,”  73 
“Proverbial  Philosophy,”  Tupper’s,  40 
“ Proverbs,”  1 5 
“Psyche  Disobeys,”  85  (i.) 

“Psyche  Repents,”  85  (ii.) 

“ ‘Q;,’  Mrs,”  108,  133 
Quaritch,  Mr,  33 

“ Quato  and  Saccawinkee  Monkeys,”  84 
(ix.) 

“ Queen,  To  the,”  40 

“Queen  Elizabeth  and  Essex,”  90  (iv.) 

“Queen  Katharine’s  Dream,”  98  (i.) 

Quentin,  Harriet,  108 

“Quixote  (Don),  Adventures  of,”  49A 

“Quixote  (Don),  Death  of,”  49A  (ii.) 

“ Rambler’s  Magazine,”  64 
Raphael,  Blake  after,  73  (i.,  iv.  and  v.) 

“ Ravens,  Sexton,”  etc.,  80 
Reason,  35 

Rees’s  “Cyclopaedia,”  28,  105 
Relief-etching,  5,  14,  15,  16,  18,  22,  26, 
29>  3L  37,  3 7 A»  65 
“ Remember  Me  ! ”,  32 
“ Rendez-vous  de  Chasse,”  46 
“ Reunion  of  the  Soul  and  the  Body,”  40 
(xii.) 

Reynolds,  Blake  after,  101 


Richardson’s  “ Grandison,”  49E 
Rimmel,  Mr,  58  (v.) 

Ritson’s  “English  Songs,”  55 
Robertson,  W.  Graham,  12,  20  (ii. ),  27,  33, 
(v.,  xiv.,  xx.  and  xxi.),  34  (i.),  38  (iii.) 
“Robin  Hood  and  Clorinda,”  57 
Robson,  Mr,  4,  17,  24 
“ Roman  History,”  Allen’s,  88 
“ Romeo  and  the  Apothecary,”  98  (ii.) 

“ Romeo  and  Juliet,”  3 
Romney,  Blake  after,  96  (i. ),  102 
“ Romney,  Blake’s  Portrait  of,”  99,  102 
“ Romney,  Hayley’s  ‘ Life  of,’  ” 99,  102 
Rosa  (Xaverius  della),  Blake  after,  82 
“Rosamund,  Fall  of,”  56 
Rossetti,  W.  M.,  8,  20  (v. ),  30,  92 
“ Rossetti  MS.”  2,  9 
“ Rossetti  Papers,”  30 
Rowfant  Library,  8 

Rubens,  Blake  after,  69  (i),  73  (ii.  and  iii.) 
Ruchotte,  Blake  after,  86 
Russell  (A.  G.  B.),  “The  Letters  of 
William  Blake,”  by,  passim 

“Sacred  to  Simplicity,”  48  (iv.) 

“St  Edmund’s  Chapel,  View  of,”  96  (v.) 
(“  St  John  the  Baptist  addressing  a Multi- 
tude”) (see  under  “Joseph  of  Arimathea,” 

5) 

“ St  Mary  Magdalene,  Ecstasy  of,”  16 
Salaman,  Miss  Louisa,  40 
Salzmann’s  “ Elements  of  Morality,”  77 

— “ Gymnastics  for  Youth,”  123 
Sampson,  John,  8,  9 

“ ‘ Sampson  yhad  experience,’  ” 5 1 
Satan,  8 (viii.),  28 

— (Engraving),  52 

“ Satans’  holy  Trinity,”  10 
Schiavonetti,  Luigi,  40 
Scott  (John),  “Poetical  Works  of,”  48 
Scott,  W.  B.,  32  (xxi.) 

“Scripture  Lessons,”  Mrs  Trimmer’s,  132 
“ Sculls  of  Lieut.  Leppar,  etc.”  34  (vii.) 
“Sculpture,”  Prints  illustrating,  105  (iv.- 
vii.) 

Seagrave,  J.,  19,  20,  96,  97 
“ ‘ See  how  much  good  a Single  Man  can 
do  ! ’ 77  (xiii. ) 

“ Sentimental  Journey,”  49,  49B 
“Sepulchral  Monuments,”  Gough’s,  117 


227 


Index 


“ Seraph,”  Whitaker’s,  42 
“ Serena,”  97 

“ Setting-dog  and  Partridge,”  80  (viii.) 

“ Sexes  (For  the),  The  Gates  of  Paradise,” 
8 (iii.) 

Shackelton,  Blake  after,  78 
“ Shakespeare,”  Fuseli’s,  98 
“Shakespeare,  Lamb’s  Tales  from,”  128 

— “Henry  VIII,”  98  (i.) 

— “ Romeo  and  Juliet,”  3,  98  (ii.) 

— “ Timon  of  Athens,”  72 
Sharpe,  Miss  L.,  120 

— William,  1 20 
Shaw,  Mr,  35 

“ Sheckemites,  Fugitive,”  63  (iii.) 
“Shepherd  and  Philosopher,”  80  (i.) 
Shields,  Frederic,  17,  40  (i.  and  xi.) 
“Shipwreck,  Romney’s  Sketch  of  a,”  102 
“ Shore,  Penance  of  Jane,”  2 
“Sibylline  Leaves,”  29 
“ Sir  Launcelot  and  the  General  Election,” 
49° 

“Skeleton  Re-animated,”  40  (i.) 
“Skinning  of  the  Aboma  Snake,”  84  (v.) 
Smith,  George,  37A,  105  (iv.) 

— Mrs  Graham,  8 (xv.) 

— John  Thomas,  40,  117,  135 
Smollett’s  “Don  Quixote,”  49A 

— “ Sir  Launcelot  Greaves,”  49D 

“ Solomon  says  Vanity  of  Vanities,”  27 
Solomon’s  Temple,  28 
“Songs  of  Experience,”  16,  18 
“ Songs  of  Innocence  & Experience,”  5 
Sotheby,  Messrs,  20  (ii.  and  iii.),  25,  29, 
33»  35>  40  (vi.),  48  (iv.),  66,  99,  104, 
125 

“ Soul  exploring  the  recesses  of  the  Grave,” 
40 

“ Soul  hovering  over  the  body,”  40  (ix.) 
Southgate  and  Barrett,  Messrs,  3,  40  (i.) 
“Spalding,  Head  of,”  69,  (iii.) 

“ Speaker,”  Enfield’s,  45 
“ Spencer  (Earl),  Portrait  of,”  104 
Stedman’s  “ Surinam,”  84 
Sterne’s  “ Sentimental  Journey,”  49B 
Stone  (Francis),  Blake  after,  96 
“ ‘ Stop  ! Stop  ! ’ ”,  77  (ii.) 

Stothard,  Thomas,  7,  120 

Blake  after,  43-45,  47-53,  55>  56> 

58-60,  62,  63,  70,  ( 1 17),  135 


“ Stothard  and  Friends  Prisoners,”  120 
Stothard,  Unknown  Subject  after,  44 
Strange,  J.  C.,  33  (xxi.) 

“Surinam  Planter,”  84  (x.) 

“ Surinam,”  Stedman’s,  84 
Swinburne’s,  “ Blake,”  40 
Symons,  Arthur,  40 
“ System  of  Geography,”  43 

“Tame  Stag,”  80  (iii.) 

Tatham,  Frederick,  8,  15,  24,  34  (i.),  85 
“ Telemachus,  History  of,”  127 
“ Temple  of  Mirth,”  58  (i.) 

“That  end  in  endless  Strife,”  8 (viii.) 

“ The  Dog  strove  to  attract  his  attention,” 

7 (“•) 

“The  Lord  hath  broken  the  staff  of  the 
wicked,”  37A 

“ The  shatter’d  bark  from  adverse  winds,”  4 
“The  Sun’s  Light  when  he  unfolds  it,” 
8(i.) 

“The  Traveller  hasteth  in  the  Evening,” 

8 (xvii.) 

“ Thenot,”  30 

“Theocritus,  Portrait  of,”  30  (xxii.) 
“Thetis  entreating  Jupiter,”  100  (iii.) 
“‘There  he  is ! . . . our  dear  Father,’” 
77  (iii-) 

“ ‘ There  is,  who  deems  all  climes,  all  seasons, 
fair,’  ” 48  (ii.) 

“ Thiralatha,  Dream  of,”  14 
“ Thor  battering  the  Serpent  (?),”  79 
Thornton’s  “ Vigil,”  30 
“ Thou  Waterest  him  with  Tears,”  8 (v. ) 

“ Thoughts  on  Outline,”  Cumberland’s,  36, 

85 

“ Ticketof  Admission  (WaterWorks),”  103 
“Timon  visited  by  Alcibiades,”  72 
“ Tirzah,  To,”  16 

Tom  Tit,  “Eagle’s  Masque,”  by,  129 
“ Tornado,”  79 
“Three  Accusers,”  10 
Tregaskis,  Mr,  16,  17 
Trimmer  (Mrs),  “Scripture  Lessons,”  by, 
132 

“ Triumphs  of  Temper,”  20,  97 
“ ‘ Trying  to  trace  the  sound,’  ” etc.,  7 (v.) 
“ Tythe  in  Kind,”  58  (ii. ) 

Ugolino  (Count)  8 (xv.) 

228 


Index 


“Upton,  Portrait  of,”  136 
“ Urizen,”  Blake’s,  126 

“Vala,”  (Blake’s),  1,  26 
Varley’s  “ Zodiacal  Physiognomy,”  41 
“Varus,  Portrait  of,”  30  (xxv.) 

Vatican  (“Cappella  Paolina”),  1 
“Venus  Councels  Cupid,”  85,  ( iii. ) 

“ Venus  dissuades  Adonis  from  Hunting,”  64 
“ Venus  dissuades  Adonisfrom  the  Chase,”  64 
“Vetusta  Monumenta,”  114 
Victoria  and  Albert  Museum,  3,  8 (xv.), 
18,  40  (v.) 

Villiers-Huet,  Blake  after,  108 
“ Virgil,  On,”  29 
“ Virgil,  Pastorals  of,”  30 
“Virgil,  Portrait  of,”  30  (xxiii.) 

Vision,  8 (xvi.) 

“Visionary  Heads,”  30  (xxvi.) 

Vollweiler,  G.  T.,  23 

Ward,  James,  30 

“‘Warriors!  let  the  Wretches  live!’”,  48 

“ Wat  Tyler  and  the  Tax-gatherer,”  90  (iii.) 
“Water,”  8 (v.) 

Watteau,  Blake  after,  46 

Watson,  Caroline,  99 

Wedgwood’s  “ Book  of  Designs,”  106 

“Welcome  dear  Henry,”  77  (xi.) 

“ West  Middlesex  Water  Works  (Ticket),  ” 
103 

Westminster  Abbey,  113,  117 

West’s  “New  Theatrical  Characters,”  13 1 


“‘What  are  these?  . . . the  Female 
Martyr,’  ” 8 (x.) 

“ ‘ What  is  Man  ! ’ ”,  8 (i.) 

“‘What  is  Man,’”  etc.  (Job.  vii.,  17  and 
18),  12 

“ ‘ When  the  senses  are  shaken,’  ” 10 
“Whirlwind  of  Lovers,”  34  (i.) 

Whitaker’s  “ Seraph,”  42 
White,  Alfred,  27 
— W.  A.,  8,  17,  29,  32 
Whitworth  Institute  (Manchester),  1 5 
“ Widow  embracing  her  Husband’s  Grave,” 

4° 

Wilmot,  John,  86 

“Windsor  Castle,”  108,  133 

“Wit’s  Magazine,”  58 

“Woman  wringing  her  hands  in  grief,”  7 

Wollstonecraft,  Mary,  77 

Original  Stories  by,  7 

Woodcuts,  Blake’s,  30 
Woodcuts  upon  pewter,  18,  31 
Worm,  8 (xix.) 

“Wright  of  Derby,  Portrait  of,”  87 

“Young  burying  Narcissa,”  18 
“Young  Lady  embracing  the  Bust  of  a 
Youth,”  70 

Young  & Sons,  Messrs  H.,  46 
Young’s  “Night  Thoughts,”  17,40  (i.,  vii. 
and  x.),  42 

“ ‘ Your  Compassion  has  saved  my  life,’  ”77 
(vii.) 

“Zephyrus  and  Flora,”  59 
“Zodiacal  Physiognomy,”  Varley’s,  41 


229 


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